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The Scheding Index of Australian Art & Artists

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Showing 158,397 records of 158,397 total. We are displaying one thousand.

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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. ARM’s architecture draws from a diverse territory of inspiration, including Michelangelo and Robert Venturi, computer programming and biblical verse. It has been celebrated—and occasionally execrated—by critics and the public alike, yet, despite the work’s capacity to polarise, the practice has produced some of Australia’s 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 Melbourne’s 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
Reference: see 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 
Arkley Howardview full entry
Reference: see 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 
Audette Yvonneview full entry
Reference: see 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 
Balson Ralphview full entry
Reference: see 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 
Barak Williamview full entry
Reference: see 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 
Bennett Williamview full entry
Reference: see 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 
Black Dorrittview full entry
Reference: see 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 
Booth Peterview full entry
Reference: see 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 
Bowery Leighview full entry
Reference: see 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 
Boyd Arthurview full entry
Reference: see 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 
Boyd Emma Minnieview full entry
Reference: see 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 
Boyd Merricview full entry
Reference: see 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 
Brack Johnview full entry
Reference: see 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 
Bright & Hitchcocks Geelong manufacturerview full entry
Reference: see 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 
Browne Richardview full entry
Reference: see 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 
Bryansd KKLinaview full entry
Reference: see 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 
Bryans Linaview full entry
Reference: see 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 
Bunny Rupertview full entry
Reference: see 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 
Burn Henryview full entry
Reference: see 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 
Burn Ianview full entry
Reference: see 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 
Buvelot Louisview full entry
Reference: see 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 
Caire Nicholasview full entry
Reference: see 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 
Cazneaux Haroldview full entry
Reference: see 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 
Cohn Olaview full entry
Reference: see 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 
Conder Charlesview full entry
Reference: see 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 
Cook Michaelview full entry
Reference: see 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 
Smith Grace Cossingtonview full entry
Reference: see 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 
Crooks Danielview full entry
Reference: see 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 
Crowley Graceview full entry
Reference: see 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 
Davila Juanview full entry
Reference: see 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 
de Maistre Royview full entry
Reference: see 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 
Dowling Robertview full entry
Reference: see 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 
Drysdale Russellview full entry
Reference: see 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 
Dupain Maxview full entry
Reference: see 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 
Earle Augustusview full entry
Reference: see 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 
Featherston Grantview full entry
Reference: see 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 
Featherston Maryview full entry
Reference: see 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 
Fiox E Phillipsview full entry
Reference: see 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 
Gill S Tview full entry
Reference: see 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 
Gleeson Jamesview full entry
Reference: see 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 
Glover johnview full entry
Reference: see 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 
Henson Billview full entry
Reference: see 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 
Hester Joyview full entry
Reference: see 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 
Heysen Hansview full entry
Reference: see 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 
Hinder Frankview full entry
Reference: see 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 
Jacks Robertview full entry
Reference: see 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 
Johnson Jessview full entry
Reference: see 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 
Jerrems Carolview full entry
Reference: see 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 
Kerr Williamview full entry
Reference: see 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 
Kilburn Douglas Tview full entry
Reference: see 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 
King Ingeview full entry
Reference: see 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 
Kngwarray Emily Kameview full entry
Reference: see 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 
Lambert Georgeview full entry
Reference: see 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 
Le Guay Laurenceview full entry
Reference: see 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 
Lewin John Williamview full entry
Reference: see 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 
Longstaff Johnview full entry
Reference: see 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 
McCubbin Frederickview full entry
Reference: see 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 
Mackennal Bertramview full entry
Reference: see 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 
Martens Conradview full entry
Reference: see 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 
Meadmore Clementview full entry
Reference: see 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 
Meredith Louisa Anneview full entry
Reference: see 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 
Moffatt Traceyview full entry
Reference: see 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 
Mueck Ronview full entry
Reference: see 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 
Namatjira Albertview full entry
Reference: see 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 
Newmarch Annview full entry
Reference: see 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 
Newson Marcview full entry
Reference: see 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 
Nixon Johnview full entry
Reference: see 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 
Olson Johnview full entry
Reference: see 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 
Parr Mikeview full entry
Reference: see 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 
Perceval Johnview full entry
Reference: see 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 
Piccinini Patriciaview full entry
Reference: see 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 
Potts Davidview full entry
Reference: see 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 
Preston Margaretview full entry
Reference: see 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 
Rae Isoview full entry
Reference: see 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 
Ramsay Hughview full entry
Reference: see 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 
Roberts Tomview full entry
Reference: see 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 
Rowan Ellisview full entry
Reference: see 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 
Russell Johnview full entry
Reference: see 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 
Sharp Martinview full entry
Reference: see 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 
Sievers Wolfgangview full entry
Reference: see 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 
Smart Jeffreyview full entry
Reference: see 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 
Smith Elizabethview full entry
Reference: see 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 
Spowers Ethelview full entry
Reference: see 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 
Streeton Arthurview full entry
Reference: see 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 
Sydney Bird Painterview full entry
Reference: see 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 
Harrison Thomas millinerview full entry
Reference: see 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 
Thomas Harrison millinery houseview full entry
Reference: see 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 
Apuatimi Declanview full entry
Reference: see 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 
Henry Tiempi Paddyview full entry
Reference: see 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 
Luki Maniview full entry
Reference: see 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 
Wommatakimmi Harry Carpenterview full entry
Reference: see 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 
Tjungurrayi Shorty Lungkataview full entry
Reference: see 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 
Tucker Alberetview full entry
Reference: see 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 
Tuckson Tonyview full entry
Reference: see 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 
von Guerard Eugeneview full entry
Reference: see 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 
Rocke W H & Coview full entry
Reference: see 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 
W H Rocke & Coview full entry
Reference: see 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 
Waller Christianview full entry
Reference: see 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 
Whiteley Brettview full entry
Reference: see 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 
Williams Fredview full entry
Reference: see 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 
Woolner Thomasview full entry
Reference: see 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 
flood on the Hawkesbury 1867view full entry
Reference: article in Illustrated Sydney New, July 18, 1867 and research notes on an oil painting possibly a copy of the illustration in the article, painting now in SLNSW.
Australian Colonial School
(The Eather families in the 1867 flood, Hawkesbury River, N.S.W)
Oil on canvas
41.2 x 58.2 cm
Inscribed lower centre: ‘THE/EATHER’S [sic] FAMILIE’S [sic]/ IN THE 1867 FLOOD/HAWKESBURY. N.S.W.
The maple frame appears to be the original frame.

Provenance: Possibly George Eather; Dora Eather (widow of George – see reference to the painting of the flood in the 1912 Nepean Times article below); unknown; private collection, Launceston, Tasmania, to 2018; Tullochs auction, Launceston, 28 July, 2018, lot 120; private collection Sydney.

This painting relates to the engraving that appears in the Illustrated Sydney News, 16 July, 1867, titled Flood on the Hawkesbury - the drowning of the families of William and Thomas Eather, 1867 (reproduced below). According to Peter A. Dowling in Index to Imagery in Colonial Australian Illustrated Newspapers (2012) the image was engraved by A. L. Jackson after an ‘illustration’ by Eugene Montagu Scott. Montagu Scott contributed many illustrations and cartoons to Australian newspapers and demonstrated skills in a wide array of materials, including oils, and styles (see Design & Art Australia Online).

When George Eather, the surviving brother of William and Thomas Eather, died in 1912 the Nepean Times (25 May 1912. Page 3) interviewed his widow, Mrs Dora Eather, and reported that ‘Mrs Eather showed us yesterday an old painting depicting the flooded families desperately clinging to the roof of the house.’ It is likely that this refers to the painting being offered here. The full article with the interview with Dora Eather is below.

The flood of June 1867 is one of the most significant natural disasters to hit the Hawkesbury Nepean region. The town of Windsor was almost entirely submerged and floodwaters reached up to nearly 20 metres high. Twenty people died, including 12 members of the extended Eather family.
The Eather brothers William, Thomas and George, lived by the Hawkesbury river at Cornwallis, known locally as the 'Bottoms' (low lying land between the Hawkebury River and Rickaby's Creek). It is the families of William and Thomas who are tragically depicted in the painting. They had taken shelter on George's house on the 20th of June, 1867. However, on the 21st of June, before a rescue boat could get to them, the house collapsed, sweeping the wives and 10 children away. Lost were William's wife Catherine and all five of their children – Mary Anne (aged 11), Charles (aged 9), Catharine (aged 6), Clara (aged 3) and William (aged 1). Thomas likewise lost his wife Emma and five of their six children - Annie (aged 14), James (aged 11), Elizabeth (aged 11), Angelina (aged 5) and Emma (aged 2). Only one of Thomas' children, Charles Frederick Eather (1851-1885) survived. William, Thomas and his son Charles Frederick were able to cling on to the trees.
Only six bodies were recovered at first. The body of James Eather was found a couple of days after the flood, while the body of eight-year-old Elizabeth was found two months later. The remaining bodies were never recovered.

*
From Nepean Times, 25 May 1912. Page 3:
Death of Mr George Eather - At Richmond (The '67 Flood)

Mr George Eather, of Lennox street, Richmond, aged 77, passed away last Thursday week. Deceased was one of the good old Hawkesburyites whom everyone respected. He leaves a widow (also in the seventies) and a surviving family of eight out of 18 as follow:-Mrs Carr, South Africa; Mrs Chas Baldwin, Durham Court, Manilla; Mrs A McNiven, Sydney; Mrs R Fay, Eskbank; Miss Maggie Eather, Richmond; Mr Walter Eather, Sydney; Mr James Eather, Sydney; and Mr Ambrose Eather, Brewarrina. The latter, who had not seen his father for eleven years, came home and spent the last five weeks with him. The remains were laid to rest on the Saturday following in the new Roman Catholic cemetery, the Rev Father O'Brien officiating. The. funeral was largely attended, some very old  and esteemed friends being in the procession. For 26 years the late George Eather occupied the farm where Mr W Day now resides. He vacated it about ten years ago. He led a quiet life. An outstanding feature in his long career, however, was  his awful experience, in the historic flood of '67. Most of our readers have heard or read something of the drowning of the Eathers. It was in June of the year mentioned. Mrs Eather showed us yesterday an old painting depicting the flooded families desperately clinging to the roof of the house down on the flats of Corn Wallis. The waters crept up until only three rows of shingles were out. Then, the roof collapsed, and twelve were drowned. “It was a new slab house, just built for us,” Mrs Eather explained, “and when .the waters began to rise, we regarded it as the best shelter. My brother-in-iaw, Johnny Madden, came down on the Wednesday. He had a lot of pigs in another paddock on the river bank, and tried to get them away. Some men were also about, attending to odd things on the farms, after taking the cattle up, but the water overflowed the flats, and they  were cut off. George Cupitt was taking them back in a boat, and Johnny said to me, 'You had better go up in the boat to your sister's, and  take the four children.' At first I refused, saying I would have to bake some bread and get everything on to the; loft before morning. However, he prevailed upon me to go. My husband stayed. When we were getting into the boat, Tom and Bill Eather came over, with their families, to take refuge in our place. Mrs Bill Eather said, 'You won't forget us if the water comes over the ridge?' I wanted her to come too, but she would not. I also urged Mrs Tom to come, but no... She said she would if there was an empty house up in Clarendon to go to. We were pulled away at 4 in the afternoon. That night the flood rose fast. In the morning my sister (Mrs Smith) and I came into Richmond, and tried  in vain to get a boat sent over. All day long we walked backwards and forwards in great anxiety. At night we went back to Clarendon. About 7 o'clock I saw a signal light away over the water, in the direction of our place, and I said, 'It is still them on the roof.’ We put rags and paper on the end of a fishing rod, lit them, and answered the signal.' Then I heard their cries. I rushed down to a man with a boat, and told him. A dozen men were standing round, but none offered to go.  It was dark and raining. Dight's coachman, Riley, came along, and when we told him of our trouble he went to Mr Dight, who sent him galloping away with a note to Tierney to press the public boat when it came to shore, and offer the crew £50 to go back and get the boat and save those at Eather's. The boat was got about 10 o'clock, and three men offered to go out. To help them to steer across a fire was lit  at Mr Dight's. They reached the place just about half an hour too late. Though, the house, of slabs, was built, strong, to withstand the floods, the roof had not been strapped, and it collapsed. Mrs Tom Eather and five of her children and Mrs  Bill Eather and her five were drowned. Madden and. the brothers Tom, Bill and George Eather swain to a tree near by, from which the boat rescued them. Bill was strapped to the tree, in a state of collapse, and it was with difficulty he was afterwards resuscitated. Tom's eldest son, Charlie, was with Bill Bailey on the next farm, hanging on to a big willow tree, and they were rescued by the same boat. It was a long pull to where the fire was kept going - as a guide. Very quietly they came, for they thought Bill was dying in the boat.  I could hardly realise it - when I saw my husband and the other survivors, but the drowning of the two wives and their ten children was a terrible blow." It might be added that Mr Tom Eather, sen., one of the survivors mentioned, now over 80 years old, was in Richmond a few days before the death of poor old George.
*

(Family information has been provided by Sarah Stavely, a descendant of the family, following conversation with Stephen Scheding, October, 2020. Sarah’s 3rd great grandmother Elizabeth Dodd married William Eather (1833-1899) at Richmond on September 2, 1869. Information also from ‘Remembering the great Hawkesbury flood tragedy of 1867’ ABC Radio Sydney, by Amanda Hoh, posted online Thursday 22 June 2017).
https://www.abc.net.au/news/2017-06-22/eather-family-remember-the-great-hawkesbury-flood-of-1867/8641634

Ether Family history at: http://www.familytreecircles.com/u/janilye/?&next=371

Ref: 145
Hawkesbury flood 1867view full entry
Reference: see article in Illustrated Sydney New, July 18, 1867 and research notes on an oil painting possibly a copy of the illustration in the article, painting now in SLNSW.
Australian Colonial School
(The Eather families in the 1867 flood, Hawkesbury River, N.S.W)
Oil on canvas
41.2 x 58.2 cm
Inscribed lower centre: ‘THE/EATHER’S [sic] FAMILIE’S [sic]/ IN THE 1867 FLOOD/HAWKESBURY. N.S.W.
The maple frame appears to be the original frame.

Provenance: Possibly George Eather; Dora Eather (widow of George – see reference to the painting of the flood in the 1912 Nepean Times article below); unknown; private collection, Launceston, Tasmania, to 2018; Tullochs auction, Launceston, 28 July, 2018, lot 120; private collection Sydney.

This painting relates to the engraving that appears in the Illustrated Sydney News, 16 July, 1867, titled Flood on the Hawkesbury - the drowning of the families of William and Thomas Eather, 1867 (reproduced below). According to Peter A. Dowling in Index to Imagery in Colonial Australian Illustrated Newspapers (2012) the image was engraved by A. L. Jackson after an ‘illustration’ by Eugene Montagu Scott. Montagu Scott contributed many illustrations and cartoons to Australian newspapers and demonstrated skills in a wide array of materials, including oils, and styles (see Design & Art Australia Online).

When George Eather, the surviving brother of William and Thomas Eather, died in 1912 the Nepean Times (25 May 1912. Page 3) interviewed his widow, Mrs Dora Eather, and reported that ‘Mrs Eather showed us yesterday an old painting depicting the flooded families desperately clinging to the roof of the house.’ It is likely that this refers to the painting being offered here. The full article with the interview with Dora Eather is below.

The flood of June 1867 is one of the most significant natural disasters to hit the Hawkesbury Nepean region. The town of Windsor was almost entirely submerged and floodwaters reached up to nearly 20 metres high. Twenty people died, including 12 members of the extended Eather family.
The Eather brothers William, Thomas and George, lived by the Hawkesbury river at Cornwallis, known locally as the 'Bottoms' (low lying land between the Hawkebury River and Rickaby's Creek). It is the families of William and Thomas who are tragically depicted in the painting. They had taken shelter on George's house on the 20th of June, 1867. However, on the 21st of June, before a rescue boat could get to them, the house collapsed, sweeping the wives and 10 children away. Lost were William's wife Catherine and all five of their children – Mary Anne (aged 11), Charles (aged 9), Catharine (aged 6), Clara (aged 3) and William (aged 1). Thomas likewise lost his wife Emma and five of their six children - Annie (aged 14), James (aged 11), Elizabeth (aged 11), Angelina (aged 5) and Emma (aged 2). Only one of Thomas' children, Charles Frederick Eather (1851-1885) survived. William, Thomas and his son Charles Frederick were able to cling on to the trees.
Only six bodies were recovered at first. The body of James Eather was found a couple of days after the flood, while the body of eight-year-old Elizabeth was found two months later. The remaining bodies were never recovered.

*
From Nepean Times, 25 May 1912. Page 3:
Death of Mr George Eather - At Richmond (The '67 Flood)

Mr George Eather, of Lennox street, Richmond, aged 77, passed away last Thursday week. Deceased was one of the good old Hawkesburyites whom everyone respected. He leaves a widow (also in the seventies) and a surviving family of eight out of 18 as follow:-Mrs Carr, South Africa; Mrs Chas Baldwin, Durham Court, Manilla; Mrs A McNiven, Sydney; Mrs R Fay, Eskbank; Miss Maggie Eather, Richmond; Mr Walter Eather, Sydney; Mr James Eather, Sydney; and Mr Ambrose Eather, Brewarrina. The latter, who had not seen his father for eleven years, came home and spent the last five weeks with him. The remains were laid to rest on the Saturday following in the new Roman Catholic cemetery, the Rev Father O'Brien officiating. The. funeral was largely attended, some very old  and esteemed friends being in the procession. For 26 years the late George Eather occupied the farm where Mr W Day now resides. He vacated it about ten years ago. He led a quiet life. An outstanding feature in his long career, however, was  his awful experience, in the historic flood of '67. Most of our readers have heard or read something of the drowning of the Eathers. It was in June of the year mentioned. Mrs Eather showed us yesterday an old painting depicting the flooded families desperately clinging to the roof of the house down on the flats of Corn Wallis. The waters crept up until only three rows of shingles were out. Then, the roof collapsed, and twelve were drowned. “It was a new slab house, just built for us,” Mrs Eather explained, “and when .the waters began to rise, we regarded it as the best shelter. My brother-in-iaw, Johnny Madden, came down on the Wednesday. He had a lot of pigs in another paddock on the river bank, and tried to get them away. Some men were also about, attending to odd things on the farms, after taking the cattle up, but the water overflowed the flats, and they  were cut off. George Cupitt was taking them back in a boat, and Johnny said to me, 'You had better go up in the boat to your sister's, and  take the four children.' At first I refused, saying I would have to bake some bread and get everything on to the; loft before morning. However, he prevailed upon me to go. My husband stayed. When we were getting into the boat, Tom and Bill Eather came over, with their families, to take refuge in our place. Mrs Bill Eather said, 'You won't forget us if the water comes over the ridge?' I wanted her to come too, but she would not. I also urged Mrs Tom to come, but no... She said she would if there was an empty house up in Clarendon to go to. We were pulled away at 4 in the afternoon. That night the flood rose fast. In the morning my sister (Mrs Smith) and I came into Richmond, and tried  in vain to get a boat sent over. All day long we walked backwards and forwards in great anxiety. At night we went back to Clarendon. About 7 o'clock I saw a signal light away over the water, in the direction of our place, and I said, 'It is still them on the roof.’ We put rags and paper on the end of a fishing rod, lit them, and answered the signal.' Then I heard their cries. I rushed down to a man with a boat, and told him. A dozen men were standing round, but none offered to go.  It was dark and raining. Dight's coachman, Riley, came along, and when we told him of our trouble he went to Mr Dight, who sent him galloping away with a note to Tierney to press the public boat when it came to shore, and offer the crew £50 to go back and get the boat and save those at Eather's. The boat was got about 10 o'clock, and three men offered to go out. To help them to steer across a fire was lit  at Mr Dight's. They reached the place just about half an hour too late. Though, the house, of slabs, was built, strong, to withstand the floods, the roof had not been strapped, and it collapsed. Mrs Tom Eather and five of her children and Mrs  Bill Eather and her five were drowned. Madden and. the brothers Tom, Bill and George Eather swain to a tree near by, from which the boat rescued them. Bill was strapped to the tree, in a state of collapse, and it was with difficulty he was afterwards resuscitated. Tom's eldest son, Charlie, was with Bill Bailey on the next farm, hanging on to a big willow tree, and they were rescued by the same boat. It was a long pull to where the fire was kept going - as a guide. Very quietly they came, for they thought Bill was dying in the boat.  I could hardly realise it - when I saw my husband and the other survivors, but the drowning of the two wives and their ten children was a terrible blow." It might be added that Mr Tom Eather, sen., one of the survivors mentioned, now over 80 years old, was in Richmond a few days before the death of poor old George.
*

(Family information has been provided by Sarah Stavely, a descendant of the family, following conversation with Stephen Scheding, October, 2020. Sarah’s 3rd great grandmother Elizabeth Dodd married William Eather (1833-1899) at Richmond on September 2, 1869. Information also from ‘Remembering the great Hawkesbury flood tragedy of 1867’ ABC Radio Sydney, by Amanda Hoh, posted online Thursday 22 June 2017).
https://www.abc.net.au/news/2017-06-22/eather-family-remember-the-great-hawkesbury-flood-of-1867/8641634

Ether Family history at: http://www.familytreecircles.com/u/janilye/?&next=371

Tribe Barbaraview full entry
Reference: see Women Artists in Cornwall
Short articles exploring women artists in Cornwall, both past and present, Tuesday, January 8, 2013, Barbara Tribe ~ a sculptor’s life, by Helen Hoyle (lengthy biography)



Publishing details: http://cornishmuse.blogspot.com/2013/01/barbara-tribe-sculptors-life.html
bookpllatesview full entry
Reference: see Australian Book-Plates and Book-Plates of Interest to Australia. [’extensively illustrated with bookplates, some of which are original graphics tipped-in; a fine copy of this magnificent showcase of Australian bookplates. Artists include Norman Lindsay, Adrian Feint, Alan Jordan, G. D. Perrottet, and Lionel Lindsay, among many others.
‘] [to be indexed]
Publishing details: Sydney Privately Printed 1950. Quarto Original two toned cloth in dustwrapper, standard edition of 200 copies signed by Barnett.
Smith Bernhardview full entry
Reference: see Pre-Raphaelite Sculpture: Nature and Imagination in British Sculpture, by B. Read and J. Barnes ( cds ), Contentrs include Bernhard Smith: "The missing brother" / by Juliet Peers -- Thomas Woolner : PRB, RA / by Benedict Read -- Beyond Captain Cook : Thomas Woolner and Australia / by Juliet Peers -- Thomas Woolner and the image of Tennyson.
Publishing details: London: The Henry Moore Foundation in association with Lund Hmnphries, 1991, pp. 34-39.
Dodson Douglas James William pavement artistview full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, ‘The man in the Street’,. by Megan Hicks. p20-1
pavement artistsview full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, ‘The man in the Street’, by Megan Hicks.
Hanke Henry view full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, ‘The man in the Street’, by Megan Hicks. p20-21
Pulvirenti Antonview full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, ‘The man in the Street’, by Megan Hicks. p20-21
Kistler Rudyview full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, ‘The man in the Street’, by Megan Hicks. p20-21
Sofin Jeremyview full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, ‘The man in the Street’, by Megan Hicks. p22
Reynolds Ernestview full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, ‘The man in the Street’, by Megan Hicks. p22 biographical info.
Leishman Kerrieview full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, ‘Drawing a fine line’ article on the artist by Margot Riley
Ref: 145
Green-Emmott Louis c1870 oil view full entry
Reference: see Openbook magazine of the SLNSW, Summer 2021, illustration by, in article by Anne Hocking. With brief biog details. [articlelocated in Openbook in Box 145]
Frost Benview full entry
Reference: see Neal Auction Company, New Orleans, LA, United States, 9 Dec, 2022 for over 20 lots including: Ben Frost (Australian, b. 1975), "Yogi on Xanax", 2022, 3 9-color screenprints, each pencil-signed lower right, numbered "13/50", "36/50" and "37/50" lower left, each 24 in. x 24 in., unframed; accompanied by a copy of a certificate of authenticity from Vertical Gallery for one print. (4 pcs.)

Cook William Delafield view full entry
Reference: William Delafield Cook : a survey. Essays by Simon Gregg and Anthony Fitzpatrick. “A Gippsland Art Gallery travelling exhibition: Gippsland Art Gallery, Sale, 16 July-11 September 2011; TarraWarra Museum of Art, 15 October 2011-12 February 2012”
Publishing details: Gippsland Art Gallery, 2011. Second printing. Small quarto, illustrated wrappers, pp. 54, illustrated. Printed in an edition of 1000 copies.
Story of the Red Cross Theview full entry
Reference: The story of the Red Cross. Written and compiled by Joan and Daryl Lindsay, extensively illustrated by Daryl Lindsay, Lionel Lindsay, Napier Waller, Frank Medworth, Douglas Annand, and others. Of particular note is the vibrant double page colour reproduction of a linocut by Ethel Spowers. Graphically design with a progressive modernist look, a most interesting collection of Australian artworks assembled to raise funds for the Australian Red Cross Society. With the contemporary ownership inscription of Judith Barnes of the Royal Adelaide Hospital to front pastedown.

Publishing details: Australian Red Cross Society, [1941]. Quarto, decorated cloth (toned, small split lower spine), illustrated endpapers, unpaginated (approx. 80 pp.),
Ref: 1000
Lindsay Darylview full entry
Reference: see The story of the Red Cross. Written and compiled by Joan and Daryl Lindsay, extensively illustrated by Daryl Lindsay, Lionel Lindsay, Napier Waller, Frank Medworth, Douglas Annand, and others. Of particular note is the vibrant double page colour reproduction of a linocut by Ethel Spowers. Graphically design with a progressive modernist look, a most interesting collection of Australian artworks assembled to raise funds for the Australian Red Cross Society. With the contemporary ownership inscription of Judith Barnes of the Royal Adelaide Hospital to front pastedown.
[To be indexed]
Publishing details: Australian Red Cross Society, [1941]. Quarto, decorated cloth (toned, small split lower spine), illustrated endpapers, unpaginated (approx. 80 pp.),
International Triennale of Contemporary Art 2001view full entry
Reference: International Triennale of Contemporary Art 2001. Includes work by contemporary Australian artists Destiny Deacon and STELARC, as well as works by Yoko Ono, Fiona Tan, Marina Abramovic, Cai Gui-Qiang, Felix Gonzales-Torres, Victor + Rolf, William Kentridge, Maurizio Cattelan, Yayoi Kusama, and others. Includes installation views.
Publishing details: Yokohama Triennale Committee, 2001. Quarto, lettered wrappers, pp. 408, illustrated.
Ref: 1000
STELARCview full entry
Reference: see International Triennale of Contemporary Art 2001. Includes work by contemporary Australian artists Destiny Deacon and STELARC, as well as works by Yoko Ono, Fiona Tan, Marina Abramovic, Cai Gui-Qiang, Felix Gonzales-Torres, Victor + Rolf, William Kentridge, Maurizio Cattelan, Yayoi Kusama, and others. Includes installation views.
Publishing details: Yokohama Triennale Committee, 2001. Quarto, lettered wrappers, pp. 408, illustrated.
Deacon Destiny view full entry
Reference: see International Triennale of Contemporary Art 2001. Includes work by contemporary Australian artists Destiny Deacon and STELARC, as well as works by Yoko Ono, Fiona Tan, Marina Abramovic, Cai Gui-Qiang, Felix Gonzales-Torres, Victor + Rolf, William Kentridge, Maurizio Cattelan, Yayoi Kusama, and others. Includes installation views.
Publishing details: Yokohama Triennale Committee, 2001. Quarto, lettered wrappers, pp. 408, illustrated.
Ramsay Christine Wu view full entry
Reference: Days Gone By, volume 2: A meeting of East and West
In Days Gone By, Volume 2: A Meeting of East and West, Christine Wu Ramsay continues the personal story of her life in an ever-widening world – as East meets West.
Publishing details: Melbourne : Macmillan Art Publishing, 2013. Quarto, boards in dustjacket, pp. 119, illustrated.
Ref: 1000
Laverty Collection Theview full entry
Reference: The Laverty Collection : contemporary Australian art. Introduction by John McDonald.
Landmark sale catalogue of Australian art, over 260 lots illustrated including indigenous Australian artists. Some essays on artists.
Publishing details: Sydney : Bonhams Australia, 2013. Quarto, illustrated wrappers, pp. 384, illustrated.
Ethnic Jewellery and Adornment. Australia, Oceania, Asia, Africaview full entry
Reference: Ethnic Jewellery and Adornment. Australia, Oceania, Asia, Africa
“A sumptuously produced book with an elaborate, informative text and 704 beautiful photographs of adornment from many parts of the world
Publishing details: Adelaide : Ethnic Art Press ; South Yarra, Vic. : Macmillan, 2009. Quarto, cloth in illustrated dustjacket, pp. 420, illustrated in colour. As new copy, still sealed in shrinkwrap and in publisher’s carton.
Ref: 1000
Jewellery view full entry
Reference: see Ethnic Jewellery and Adornment. Australia, Oceania, Asia, Africa
“A sumptuously produced book with an elaborate, informative text and 704 beautiful photographs of adornment from many parts of the world
Publishing details: Adelaide : Ethnic Art Press ; South Yarra, Vic. : Macmillan, 2009. Quarto, cloth in illustrated dustjacket, pp. 420, illustrated in colour. As new copy, still sealed in shrinkwrap and in publisher’s carton.
Preston Robertview full entry
Reference: Communion to the trees : third morning communion : the Essene Gospel of Peace : book III. Translated by E.B. Szekely. Illuminated by Robert Preston. Townsville and Melbourne :
Publishing details: Macmillan, 2002. Oblong folio (23 x 47cm), gilt-lettered cloth in gilt-lettered matching slipcase, pp. [24], illustrated. Limited to 200 numbered copies
Ref: 1000
Central Australian Aboriginal Paintingsview full entry
Reference: Central Australian Aboriginal Paintings. Brilliant abstract designs of the Pitjantjatjara

Publishing details: Limited edition. Seven beautiful plates ready for framing. Melbourne : Newcraft Publicity, 1968. Oblong folio (230 x 330 mm), lettered wrappers (a little marked and creased), two pages of text by Winifred Hilliard, 6 plates of Pitjantjatjara designs printed by seriagraph in monochrome colour (evidently lacking one plate), each signed by the artist
Ref: 1000
Aboriginal artview full entry
Reference: see Central Australian Aboriginal Paintings. Brilliant abstract designs of the Pitjantjatjara

Publishing details: Limited edition. Seven beautiful plates ready for framing. Melbourne : Newcraft Publicity, 1968. Oblong folio (230 x 330 mm), lettered wrappers (a little marked and creased), two pages of text by Winifred Hilliard, 6 plates of Pitjantjatjara designs printed by seriagraph in monochrome colour (evidently lacking one plate), each signed by the artist
Hijacked. Volume 2 : Australia, Germany
view full entry
Reference: Hijacked. Volume 2 : Australia, Germany. Artists from Australia: Narelle Autio, James Brickwood, Michael Corridore, Andrew Cowen, Tamara Dean, Jackson Eaton, Suzie Fox, Lee Grant, Derek Henderson, Rebecca Ann Hobbs, Ingvar Kenne, Bronek Kózka, Georgia Metaxas, Conor O’Brien, Polixeni Papapetrou, Louis Porter.
Artists from Germany: Johanna Ahlert, Natalie Bothur, Jörg Brüggemann, Thekla Ehling, Albrecht Fuchs, Jan v. Holleben, Karsten Kronas, Anne Lass, Jens Liebchen, Myriam Lutz, Julian Röder, Josef Schulz, Oliver Sieber, Ivonne Thein, Olaf Unverzart, Sascha Weidner.

Publishing details: Edited by Mark McPherson, Ute Noll, Markus Schaden. Perth : Big City Press; and Heidelberg : Kehrer, 2010. Quarto, boards in illustrated dustjacket unpaginated (approx. 400 pages), heavily illustrated,


Ref: 1000
Aboriginal art collectionsview full entry
Reference: Aboriginal art collections : highlights from Australia’s public museums and galleries. Aboriginal art collections : highlights from Australia’s public museums and galleries is a survey of the indigenous collections of fourteen public museums and galleries in Australia.

Publishing details: Craftsman House, 2001. Quarto, illustrated gatefold wrappers, pp. 126, illustrated.
Ref: 1000
Milgate Rodneyview full entry
Reference: “Missals” by Rodney Milgate 19 April – 12 May, 1972. Catalogue of 29 works from the exhibition.
Publishing details: Brisbane : The Johnstone Gallery, 1972. Quarto, illustrated folding card, bifold.
Ref: 1000
Shillam Kathleen & Leonardview full entry
Reference:
Sculpture by Leonard and Kathleen Shillam
Brisbane
Publishing details: Johnstone Gallery, 1972. Quarto, illustrated wrappers, [4pp]. Illustrated in black and white.
Ref: 1005
Rees Bronwynview full entry
Reference: Pink Book containing the artist’s text about the importance of friendship in her life. Like many of Rees’ artist’s books, ‘Pink Book’ is autobiographical.
Publishing details:
[Melbourne: the artist, 2008] Artist’s book. Unique example, signed, titled and dated 2008 in pencil. Measures 150 x 200 mm. Paper boards and cotton rag paper pages hand-bound with cotton,
Ref: 1000
Cantle John Mitchellview full entry
Reference: Out from the Shadows, John Mitchell Cantle, 1849-1919 , Australia’s first native born ornithological draughtsman, by Dr Mark B. Cabouret, editor: John Wade. John Mitchell Cantle 1849-1919 Australia's first native-born ornithological draughtsman

Publishing details: Australiana Society Inc., 2023, 175 pages : illustrations (some colour), portraits, facsimiles
D’Arcy William Knox art collector and patron view full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, ‘William Knox D’Arcy, art collector and patron’ article by Dianne Byrne
Steiner Henry 1835-1914 jewellerview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by John Hawkins, p22-25
Garland Thomas cabinetmakerview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article on cabinetmakers by Bob Fredman, p26-29 brief reference.
Soblusky Joseph Mathias cabinetmakerview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article on cabinetmakers by Bob Fredman, p26-29 with biographical details.
Novakoski John Antoni cabinetmakerview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article on cabinetmakers by Bob Fredman, p26-29 brief biograghical reference.
Simonson T cabinetmakerview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article on cabinetmakers by Bob Fredman, p26-29 brief biograghical reference.
Nielson H A cabinetmakerview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by John Wade p30-33
tea towels in Queenslandview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Peter Spearritt on Glenn R Cooke’s collection of tea towels
Petersen Charles 1913-1990view full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Glenn R. Cooke ‘Considering a curious carving’.
King Lawrence china painterview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Glenn R. Cooke ‘Considering a curious carving’. Includes reference.
Cameron Bessieview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Glenn R. Cooke ‘Considering a curious carving’. Includes reference.
Joyce Carrie 1893-1981view full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Glenn R. Cooke ‘Considering a curious carving’. Includes reference.
MacDiarmid Muriel 1879-1941view full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Glenn R. Cooke ‘Considering a curious carving’. Includes reference.
Jones Mary Eview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Timothy Roberts ‘Mary Roberts: a mysterious artist in Queensland’, p52-58 [despite many refs no paintings by her have been identified.]
McDonald Isabel c1890view full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Timothy Roberts ‘Mary Roberts: a mysterious artist in Queensland’, p52-58 [despite many refs no paintings by her have been identified.] A work by McDonald illustrated in article.
Ellwood Adaview full entry
Reference: see Australiana magazine, November, 2022, vol 44 no. 4, article by Timothy Roberts ‘Mary Roberts: a mysterious artist in Queensland’, p52-58 [despite many refs no paintings by her have been identified.] A work by Ellwood illustrated in article.
Trennery Horace Hurtleview full entry
Reference: see Elders auction, Adelaide, 4th December, 2022, lot 25
HORACE HURTLE TRENERRY (1899-1958)


"Crafers"
Oil on Board
24x30cm
Signed, Titled, Dated 25 Lower Left
Prov: Private Collection, Adelaide gifted by Sir Edward Hayward to vendor’s family 

Condition: Excellent condition, no visible concerns or faults to report, original/period framing in good clean overall condition.


Frame Size: 35x42cm

Estimate: $10,000-15,000

Horace Trenerry was always hard-up. His is the story of the classic starving artist. But from very early on, people could see how gifted he was. He was first exhibited when he was only nineteen and he won a gold star for drawing at twenty-one. Soon after he had his first one-man show at the Royal South Australian Society of Arts. But he was not good with money. He was a kind of gifted innocent which may be why he attracted benefactors who were to be staunchly loyal towards him. Among them were Ursula and Edward Hayward, the zealous art collectors of Carrick Hill. Lady Hayward doted on the sweet-natured artist who was always genteel, beautifully dressed, and hospitable. Perchance, just to support him, they bought paintings they didn't really need since it happened one day that a director of Sir Edward's John Martins department store noted a number of unframed artworks on the boardroom floor. He and his wife had begun collecting art and they immediately identified two paintings as those of the talented Horace Trenerry. Inquiring about them they were told that they may have them.
"No paperwork nor exchange of funds," reports the vendor. "They were just brought home and framed. The John Martins company was very generous to its directors and the gift did not seem out of the ordinary at the time."
It is hard to imagine such corporate beneficence now. 
This striking work of the vista from Crafers was probably painted when Trenerry and his friend Bill Muller were sharing a house at Crafers just before the artist moved to Willunga. It is an amazing painting. The eye travels from the strong profiles of pines in the foreground to an extremely pleasing expanse of dapple-lighted hills and valleys and down to the beautiful blue Gulf beyond. It is a masterful and striking composition. It is a wonderful Trenerry. There’s no one with a style quite like him. Which is why it was easy for the vendors to recognise this treasure on the Johnnies boardroom floor.
Minchin Richard Ernestview full entry
Reference: see Elders auction, Adelaide, 4th December, 2022, lot 46
RICHARD ERNEST MINCHIN (1831-1893)
"Torrens Park"
Watercolour
28x34cm
Signed Lower Centre, Dated 1872
Prov: Private Collection, Adelaide

Condition: In very good condition, no foxing, some minor discolouration, behind glass, framing in good clean overall condition. 

Frame Size: 42x50cm
Estimate: $4,000-6,000

Note: This historical work featured on the front cover of the book "The Torrens Park Estate - a social and Architectural History". Authors Ken Preiss and Pamela Orban. Richard Ernest Minchin was a zoo administrator and explorer in South Australia.
Williams Mary Annview full entry
Reference: see Mossgreen auction catalogue, Australian & Colonial – Antique & Historical, 6 November, 2014, lot 388: M. SYNNOTT, Bunyin-A-Wak, South Brighton 1859, watercolour, signed, titled and dated lower left, 15.5 x 23 illustrated online, not in catalogue.
Up again at Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 914 with Description:
MARY ANN SYNNOT (Williams) (1828 - 1903),

Bunyin-a-wak, South Brighton,

watercolour,

signed, titled and dated Oct. 24th '59 at lower left,

15 x 23cm.

also initialled "M.A.W." (Mary Ann Williams) lower left.

Mary Ann Synnot, daughter of Captain Walter Synnot and wife of Reverend Montague Williams. She had accompanied her father to Van Diemen's Land in 1836, marrying Williams in 1851 in Launceston. They eventually moved to Ballan in Victoria and she died at Toorak. She is buried at St.Kilda Cemetery. The homestead depicted in this watercolour is her brother-in-law's South Brighton station in the Wimmera, where she was visiting her sister, Annie, in 1859. Her manuscript journal recording this work and her travels between 1859 and 1864 has also survived, and is housed in the rare books library at Monash University.
Mitford Eustace Reveleyview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 918: EUSTACE REVELEY MITFORD (England, South Australia 1811 - 1869),

With Gen'l Sir F. Roberts in Afghanistan. Cavalry outpost attacked,

pen and ink, signed "Pasquin" lower right,

29 x 22.5cm; framed 43 x 36cm overall.


Mitford and his small family had emigrated to South Australia, arriving aboard Katherine Stewart Forbes (Capt. Alfred Fell) in March 1839.




Le Souef familyview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 919: A folio of works associated with the Cotton/Le Souef/Falkiner families:

Albert Alexander Cochrane Le Souef (1828-1902), pioneer and director of the Zoological Gardens, Melbourne, arrived at Melbourne in 1840 in the 'Eagle'. In 1841 he travelled with his tutor by bullock-dray to the protectorate station on the Goulburn where he spent three years, gained a lasting knowledge of the Aboriginals and learned bushcraft from them. In 1853 Le Souef had married Caroline, the fourth daughter of John Cotton, and they had four daughters and five sons, three of whom were associated with Australian zoological gardens. The present material appears to be produced by Caroline, May, Una, and other members of this family, circa 1850s to 1940s. Noted a pencil sketch titled "Last drawing in Alma St., St. Kilda" followed by "First drawing at Hamilton"; a cottage drawing signed by Kate Le Souef; a watercolour of a church signed by Kate Le Souef (verso); two drawings signed by P. Stribling; two watercolours by Una Falkiner; a watercolour titled "Willie & Una at Doogalook - at the river"; etc; many unfinished. (approx. 75 artworks).




Le Souef Kateview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 919: A folio of works associated with the Cotton/Le Souef/Falkiner families:

Albert Alexander Cochrane Le Souef (1828-1902), pioneer and director of the Zoological Gardens, Melbourne, arrived at Melbourne in 1840 in the 'Eagle'. In 1841 he travelled with his tutor by bullock-dray to the protectorate station on the Goulburn where he spent three years, gained a lasting knowledge of the Aboriginals and learned bushcraft from them. In 1853 Le Souef had married Caroline, the fourth daughter of John Cotton, and they had four daughters and five sons, three of whom were associated with Australian zoological gardens. The present material appears to be produced by Caroline, May, Una, and other members of this family, circa 1850s to 1940s. Noted a pencil sketch titled "Last drawing in Alma St., St. Kilda" followed by "First drawing at Hamilton"; a cottage drawing signed by Kate Le Souef; a watercolour of a church signed by Kate Le Souef (verso); two drawings signed by P. Stribling; two watercolours by Una Falkiner; a watercolour titled "Willie & Una at Doogalook - at the river"; etc; many unfinished. (approx. 75 artworks).




Le Souef Carolineview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 919: A folio of works associated with the Cotton/Le Souef/Falkiner families:

Albert Alexander Cochrane Le Souef (1828-1902), pioneer and director of the Zoological Gardens, Melbourne, arrived at Melbourne in 1840 in the 'Eagle'. In 1841 he travelled with his tutor by bullock-dray to the protectorate station on the Goulburn where he spent three years, gained a lasting knowledge of the Aboriginals and learned bushcraft from them. In 1853 Le Souef had married Caroline, the fourth daughter of John Cotton, and they had four daughters and five sons, three of whom were associated with Australian zoological gardens. The present material appears to be produced by Caroline, May, Una, and other members of this family, circa 1850s to 1940s. Noted a pencil sketch titled "Last drawing in Alma St., St. Kilda" followed by "First drawing at Hamilton"; a cottage drawing signed by Kate Le Souef; a watercolour of a church signed by Kate Le Souef (verso); two drawings signed by P. Stribling; two watercolours by Una Falkiner; a watercolour titled "Willie & Una at Doogalook - at the river"; etc; many unfinished. (approx. 75 artworks).




Le Souef Mayview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 919: A folio of works associated with the Cotton/Le Souef/Falkiner families:

Albert Alexander Cochrane Le Souef (1828-1902), pioneer and director of the Zoological Gardens, Melbourne, arrived at Melbourne in 1840 in the 'Eagle'. In 1841 he travelled with his tutor by bullock-dray to the protectorate station on the Goulburn where he spent three years, gained a lasting knowledge of the Aboriginals and learned bushcraft from them. In 1853 Le Souef had married Caroline, the fourth daughter of John Cotton, and they had four daughters and five sons, three of whom were associated with Australian zoological gardens. The present material appears to be produced by Caroline, May, Una, and other members of this family, circa 1850s to 1940s. Noted a pencil sketch titled "Last drawing in Alma St., St. Kilda" followed by "First drawing at Hamilton"; a cottage drawing signed by Kate Le Souef; a watercolour of a church signed by Kate Le Souef (verso); two drawings signed by P. Stribling; two watercolours by Una Falkiner; a watercolour titled "Willie & Una at Doogalook - at the river"; etc; many unfinished. (approx. 75 artworks).




Le Souef Unaview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 919: A folio of works associated with the Cotton/Le Souef/Falkiner families:

Albert Alexander Cochrane Le Souef (1828-1902), pioneer and director of the Zoological Gardens, Melbourne, arrived at Melbourne in 1840 in the 'Eagle'. In 1841 he travelled with his tutor by bullock-dray to the protectorate station on the Goulburn where he spent three years, gained a lasting knowledge of the Aboriginals and learned bushcraft from them. In 1853 Le Souef had married Caroline, the fourth daughter of John Cotton, and they had four daughters and five sons, three of whom were associated with Australian zoological gardens. The present material appears to be produced by Caroline, May, Una, and other members of this family, circa 1850s to 1940s. Noted a pencil sketch titled "Last drawing in Alma St., St. Kilda" followed by "First drawing at Hamilton"; a cottage drawing signed by Kate Le Souef; a watercolour of a church signed by Kate Le Souef (verso); two drawings signed by P. Stribling; two watercolours by Una Falkiner; a watercolour titled "Willie & Una at Doogalook - at the river"; etc; many unfinished. (approx. 75 artworks).




Stribling Pview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 919: A folio of works associated with the Cotton/Le Souef/Falkiner families:

Albert Alexander Cochrane Le Souef (1828-1902), pioneer and director of the Zoological Gardens, Melbourne, arrived at Melbourne in 1840 in the 'Eagle'. In 1841 he travelled with his tutor by bullock-dray to the protectorate station on the Goulburn where he spent three years, gained a lasting knowledge of the Aboriginals and learned bushcraft from them. In 1853 Le Souef had married Caroline, the fourth daughter of John Cotton, and they had four daughters and five sons, three of whom were associated with Australian zoological gardens. The present material appears to be produced by Caroline, May, Una, and other members of this family, circa 1850s to 1940s. Noted a pencil sketch titled "Last drawing in Alma St., St. Kilda" followed by "First drawing at Hamilton"; a cottage drawing signed by Kate Le Souef; a watercolour of a church signed by Kate Le Souef (verso); two drawings signed by P. Stribling; two watercolours by Una Falkiner; a watercolour titled "Willie & Una at Doogalook - at the river"; etc; many unfinished. (approx. 75 artworks).




Falkiner Una view full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 919: A folio of works associated with the Cotton/Le Souef/Falkiner families:

Albert Alexander Cochrane Le Souef (1828-1902), pioneer and director of the Zoological Gardens, Melbourne, arrived at Melbourne in 1840 in the 'Eagle'. In 1841 he travelled with his tutor by bullock-dray to the protectorate station on the Goulburn where he spent three years, gained a lasting knowledge of the Aboriginals and learned bushcraft from them. In 1853 Le Souef had married Caroline, the fourth daughter of John Cotton, and they had four daughters and five sons, three of whom were associated with Australian zoological gardens. The present material appears to be produced by Caroline, May, Una, and other members of this family, circa 1850s to 1940s. Noted a pencil sketch titled "Last drawing in Alma St., St. Kilda" followed by "First drawing at Hamilton"; a cottage drawing signed by Kate Le Souef; a watercolour of a church signed by Kate Le Souef (verso); two drawings signed by P. Stribling; two watercolours by Una Falkiner; a watercolour titled "Willie & Una at Doogalook - at the river"; etc; many unfinished. (approx. 75 artworks).




Astley Charles Ernestview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 923: CHARLES ERNEST ASTLEY (1869-1929),

(fishing boats, Tasmania),

pencil sketch,

signed lower left "Chas. E. Astley, 1897",

housed in a fine antique Tasmanian huon pine frame with gilt slip,

18 x 24cm, 38 x 44cm overall



Montague Fearnleigh Lview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 926:
FEARNLEIGH L. MONTAGUE (Australia, New Zealand, United States, c1837-1892),

Rose's Rocks......Bridge Over The North Esk Near Launceston, Tasmania, 1877",

oil on canvas,

signed and titled verso with £50 price and addition notation "Painted For M.J. McIntyre Esq.

46 x 84cm, 72 x 112cm overall
Filby Sergeantview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 927: SERGEANT FILBY (Van Diemen's Land),

Isle Of The Dead, Port Arthur, Tasmania,

watercolour,

notation verso "Painted By Sergeant Filby Sergeant Of Police Forth Tasmania",

26 x 62cm, 52 x 88cm overall




Peters Helen A 1866-1923view full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 928:
HELEN A. PETERS (1866 - 1923)
In the Study,

oil on canvas,

signed and dated 1899 lower right,

73 x 84cm; framed 103 x 112cm overall.


Bears remnant of "First Australian Exhibition of Women's Work 1907" label verso.


In 1891-94 Peters was a pupil at Melbourne’s National Gallery Schools under Bernard Hall. She also studied at the Melbourne Art School under Tudor St George Tucker and Emanuel Phillips Fox and attended their summer school at Charterisville, a memento of which survives in the form of a portrait sketch of her by Fox (GAG). From 1895 to 1905 she exhibited with the Victorian Artists’ Society and the Yarra Sculptors’ Society in Melbourne. Peters was an active member of the Melbourne Society of Women Painters and Sculptors. Her work is represented in the Royal Academy in London.




Barrett Lady Marianview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 985:
LADY MARIAN BARRETT (1861 - 1939),
Marlo (Gippsland),

watercolour,

titled and dated 1930 verso,

14 x 22cm; framed (overall 27 x 33cm).


As a girl, Lady Barrett, who was then Miss Marian Rennick, studied painting at the National Gallery School under George Folingsby, with Sir John Longstaff and Fred McCubbin, and continued her painting throughout her life.

Rennick Marian later Lady Marian Barrettview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 985:
LADY MARIAN BARRETT (1861 - 1939),
Marlo (Gippsland),

watercolour,

titled and dated 1930 verso,

14 x 22cm; framed (overall 27 x 33cm).


As a girl, Lady Barrett, who was then Miss Marian Rennick, studied painting at the National Gallery School under George Folingsby, with Sir John Longstaff and Fred McCubbin, and continued her painting throughout her life.

Hunter William 5 etchingsview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 993:
WILLIAM HUNTER (c.1900 - 1963),
A group of five aquatints, circa 1930s,

all signed, titled and editioned in the lower margins,

various sizes, the largest 25 x 16cm (plate size). (5 items).


Titles include "Fishermans Bend, the goat herder", "Playground, Brunswick", "The Giants (Melbourne Wharves), etc.



Fallu Nardo Carlos b1902view full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 997:
NARDO CARLOS FALLU (Australian, b.1902 - ),

Nudes (3),

life class pencil drawings, circa 1930s,

various sizes.



Green William Oliverview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 1006:
WILLIAM OLIVER GREEN (Australian, b.1911),

A pair of floral still life paintings, (2),

watercolour, circa 1940s,

both signed William O. Green at lower right,

each 38 x 30cm; framed 67 x 56cm (overall).


"WOG" is best known for his wartime cartoons and illustrations.
WOG William Oliver Greenview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 1006:
WILLIAM OLIVER GREEN (Australian, b.1911),

A pair of floral still life paintings, (2),

watercolour, circa 1940s,

both signed William O. Green at lower right,

each 38 x 30cm; framed 67 x 56cm (overall).


"WOG" is best known for his wartime cartoons and illustrations.
Douglas Neilview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 1021:
NEIL DOUGLAS (1911-2003),

Silver Heat,

oil on canvas, signed lower right "Neil Douglas",

with title label "Silver Heat Boobnoke. Bushes of wonderful silver stuff on hot white ground show how far away was the last rain when the ground turns to a dark grey and greens cover all! Here are all the answers to Art and Life, if Life is short, and Art (and Drought!) are long....."

additionally signed "Neil Douglas",

60 x 76cm, 71 x 87cm overall
Bird Jview full entry
Reference: see Leski auction, Australian & Historical, 3-4 Dec., 2022, lot 1029:
J. BIRD (Australia), (two figures), oil on board, signed upper right "BIRD", notation verso "J. Bird, National Gallery School", 92 x 53cm, 100 x 61cm overall
Jones Jonathanview full entry
Reference: Jonathan Jones: Works on Paper 2010-2019, Edited by Genevieve O’Callaghan
‘Jonathan Jones’ publication works on paper 2010–19 celebrates the works of one of Australia’s most important contemporary Indigenous artists. Never-before-seen in one survey, these sensitive works discuss the histories, textures and patterns of south-east Australia. This astute publication pairs Jones’ bodies of work with relational texts by leading Aboriginal elders, authors and artists to illustrate Aboriginal perspectives on Country.
Edited by Genevieve O’Callaghan, this unique publication features texts by Barkandji artist Uncle Badger Bates, Waradgerie artist Lorraine Connelly-Northey, Wiradjuri language expert Dr Uncle Stan Grant Snr AM, Walgalu curator Aidan Hartshorn, Wiradjuri writer, poet and academic Dr Jeanine Leane, Wiradjuri poet and artist Jazz Money, and Gomeroi researcher and academic Dr Heidi Norman.’


Publishing details: Paperback in slipcase
336 pages
Ref: 1000
Lever Davidview full entry
Reference: A tribute to Arthur Stace 1884-1967 : a major exhibition of paintings by David Lever : 18 October - 2 November.



Publishing details: Paddington, [N.S.W.] : Eddi Jennings Art Dealer, [2001]
Ref: 1000
Sydney Eccentricsview full entry
Reference: Sydney eccentrics : [set of cards produced to complement the 'Sydney Eccentrics' exhibition at the State Library of New South Wales, 22 April - 29 August 1999] / State Library of New South Wales.
Publishing details: Sydney : State Library of New South Wales, [1999].
Ref: 1000
Exhibition of Australian art in London, 1898view full entry
Reference: Exhibition of Australian art in London, 1898.
Publishing details: London : Grafton Galleries, 1898., 64 p. ; 22 cm.
Ref: 1009
Canning Crissview full entry
Reference: Smith & Singer exhibition, 2022.
Smith & Singer are delighted to announce the forthcoming exhibition by renowned contemporary Australian painter Criss Canning.  The exhibition will feature 14 new works by the artist and will be open to the public from 24 November – 17 December 2022 Monday to Saturday, 10 am – 5 pm at 14-16 Collins Street, Melbourne.
Widely acclaimed for her meticulous still-life subjects, Canning is inspired by her immediate environment and often includes flowers sourced from her vibrant gardens outside Ballarat.  She has enjoyed an extensive career as an artist, establishing a unique and distinguished contemporary style in the genre of still-life within a sharp modernist framework, whilst integrating traditional and contemporary references and techniques.
Canning’s works are held in the National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney; Art Gallery of Ballarat, Ballarat; Castlemaine Art Museum, Castlemaine; Cairns Art Gallery, Cairns; Artbank, Melbourne; and private collections in Australia, Canada, France, Hong Kong, Singapore, United Kingdom, and the United States of America.
Publishing details: Smith & Singer, 2022 [catalogue details unknown]
Ref: 1000
Kemsley Jamesview full entry
Reference: Ginger Meggs at Large by James Kemsley

Publishing details: Harper Collins Publishers,1990, paperback
Ref: 1000
Heysen Hans view full entry
Reference: Loan exhibition of works by Hans Heysen 1898-1930 : to be opened by Mrs. Lavington Bonython on Friday, February 27th at 3.30pm.
Publishing details: South Australian Society of Arts, 1931 (Adelaide, Hassell Press.
Ref: 1000
Exhibition of Australian art in London 1898view full entry
Reference: see Grafton Gallery Exhibition London 1898, Exhibition of Australian art in London 2nd April to 7th May - 30th July 1898. Grafton Gallery Exhibition, London (promoted by The Trustees of the National Art Gallery of New South Wales). Addresses of artists provided.
Publishing details: Grafton Galleries, Grafton Street, London, 1898. 64p. ; 22 cm. (photocopy)
Australian art in London 1898 Exhibition view full entry
Reference: see Grafton Gallery Exhibition London 1898, Exhibition of Australian art in London 2nd April to 7th May - 30th July 1898. Grafton Gallery Exhibition, London (promoted by The Trustees of the National Art Gallery of New South Wales). Addresses of artists provided.
Publishing details: Grafton Galleries, Grafton Street, London, 1898. 64p. ; 22 cm. (photocopy)
Visions of natureview full entry
Reference: Visions of nature : how landscape photography shaped settler colonialism, by Jarrod Hore. Includes bibliographical references and index. [To be indexed]
• Introduction : dispossession in focus : between ancestral ties and settler territoriality
• Six geobiographies : senses of site in the white settler world
• Space and the settler geographical imagination : the survey, the camera, and the problematic of waste
• A clock for seeing : revelation and rupture in settler colonial landscapes
• Tanga Whaka-ahua or, the man who makes the likenesses : managing indigenous presence in colonial landscapes
• Colonial encounter, epochal time, and settler romanticism in the nineteenth century
• Noble cities from primeval rorest : settler territoriality on the world stage
• Settler nativity : nations and natures into the twentieth century
• Conclusion : settler colonialism, reconciliation, and the problems of place.
 
Publishing details: California : University of California Press, [2022] 
Ref: 1000
photographyview full entry
Reference: see Visions of nature : how landscape photography shaped settler colonialism, by Jarrod Hore. Includes bibliographical references and index.
• Introduction : dispossession in focus : between ancestral ties and settler territoriality
• Six geobiographies : senses of site in the white settler world
• Space and the settler geographical imagination : the survey, the camera, and the problematic of waste
• A clock for seeing : revelation and rupture in settler colonial landscapes
• Tanga Whaka-ahua or, the man who makes the likenesses : managing indigenous presence in colonial landscapes
• Colonial encounter, epochal time, and settler romanticism in the nineteenth century
• Noble cities from primeval rorest : settler territoriality on the world stage
• Settler nativity : nations and natures into the twentieth century
• Conclusion : settler colonialism, reconciliation, and the problems of place.
 
Publishing details: California : University of California Press, [2022] 
Fletcher Christianview full entry
Reference: Light: Photographs by Christian Fletcher
Written by Christian Fletcher. ‘Light brings together images from around Australia that unite light, composition and colour to create a breathtaking ode to landscape and country. It features 160 pages of full-colour photography by Christian Fletcher, taken throughout his prolific career as an award-winning landscape photographer.’
Publishing details: Publication year: 2016, 160pp
Ref: 1000
Bezzina Nicview full entry
Reference: Release the Crowd. By: Nic Bezzina.
Spanning 5 countries, and 11 heavy music festivals. A photography book by Australian Photographer Nic Bezzina about music festival crowds. This project turns the camera away from the bands and focuses on capturing the emotion of the crowd, that amorphous, vibrating creature with a thousand faces. Revealing both the intensity that comes with letting go, as well as the close communities inside which fans can truly be themselves. It will no doubt be a timeless reminder of the power of music and the fashion and culture of a generation. The festivals captured include: Wacken (Germany) Download (UK) Sonisphere (UK) Bloodstock (UK) Hellfest (France) Primavera Music (Spain) Big Day Out (AU) Future Music (AU) Soundwave (AU) Splendour In The Grass (AU)




Publishing details: The author, 2017, 140pp
Ref: 1000
Brennan Angelaview full entry
Reference: 19 Desires and one belief
Angela Brennan: 19 Desires and One Belief’ is an artist-driven publication edited by Angela Brennan, a non-exhaustive slice of practice, spanning around thirty years. The monograph includes an essay by Jan Bryant, a poem by Justin Clemens and contributions by Mitch Cairns, Mel Deerson, Michael Graf, Elizabeth Newman, Lisa Radford, and Georgina Sambell. The texts have been dispersed amongst an array of images, arranged non-periodically, sequenced to reflect a circuitous approach to practice. The book decontextualizes artworks, liberating them from previous frameworks in which they have been presented, opening space for new readings and atemporal crosscurrents. Angela Brennan: 19 Desires and One Belief continues 3-ply’s investigation of monograph-as-artist-book.
Publishing details: 3-ply 2019
Ref: 1000
Dwyer Mikala view full entry
Reference: Drawing Down The Moon, by Mikala Dwyer
Publishing details: Institute of Modern Art, Brisbane, 2014, 120pp
Ref: 1000
Extinctview full entry
Reference: Extinct: Artistic Impressions of Our Lost Wildlife, by Benjamin Gray (Author).
Australia is home to an incredible diversity of native animals. While Australian animals are among the most unique in the world, they are also among the most endangered, with hundreds currently on the brink of extinction. We must act quickly if we are to save these species, as once gone, they are gone forever.
Extinct is a collection of artworks from established and emerging Australian fine artists, each depicting an Australian animal that has already, for various reasons, tumbled over the edge into extinction. Extinct laments their loss, but also celebrates their former existence, diversity and significance. The stunning artworks are accompanied by stories of each animal, highlighting the importance of what we have lost, so that we appreciate what we have not lost yet. [To be indexed]
Publishing details: CSIRO, 2021, Hardcover
Ref: 1000
Clothbound view full entry
Reference: Clothbound : iconic fabric designs : stories of a handmade process / Julie Paterson. Includes index. llustrated endpapers. Partial dust jacket includes timeline from 1995 to 2015. [To be indexed]

Publishing details: Murdoch Books, 2015, 232 pages : colour illustrations
Ref: 1000
Justin Miller Art,view full entry
Reference: Justin Miller Art, - Autumn Summer exhibition 2022-3
Publishing details: Justin Miller Art, 2022, pb 48 pp,with price list inserted
Ref: 133
Crowley Graceview full entry
Reference: Grace Crowley - ‘Grace Crowley is a publication based on letters sent to the Australian artist and pioneer of modernist painting Grace Crowley (1890–1979) by friends, family and colleagues. Parts of those letters, which are now housed in the Art Gallery of New South Wales and the State Library of New South Wales archives in Sydney, were transcribed and categorised by Riet Wijnen in subsections such as ‘Marital Status’, ‘Teaching’, ‘Hosting’, ‘Eurasia’, ‘X’, ‘Being A Woman’, ‘War’, ‘$’ and ‘Making Work’. The result is an alternative biography constructed solely through a living set of relations.’
Publishing details: kunstverein, 2019, 272pp
Nicholas William Portrait of Prince Albertview full entry
Reference: see Lawsons sale, 30.11.22, The Poynter Family Legacy - Fine and Decorative Arts - Sale 9565H - Lot 20
Lot 20  
WILLIAM NICHOLAS 1809-1854 
Portrait of Prince Albert, Price Consort in Naval Dress Uniform 1847 
watercolour heightened with white 
28.5 x 19cm 
In a birdseye maple frame 
Provenance: Sir Hugh Poynter and thence by descent.
This is a Live auction to be held on Wednesday 30th November at 6.30pm and will be streamed via the invaluable portal. Telephone bidding is also welcome. 

The following lots have been consigned for auction sale on descent from the family of Sir Edward John Poynter, 1836 - 1919 acclaimed Victorian painter, President of the Royal Academy and member of the Royal Watercolour Society.  
The Poynter family were well ensconced in London's cultural scene and friends included the Pre-Raphealites - Dante Gabriel Rosetti, Frederick Lord Leighton and Lawrence Alma Tadema and William Morris and was Rudyard Kipling's Cousin by marriage.  

By inheritance the current offering includes a good selection of approximately twenty drawings and watercolours by EJP , reflecting his interest in art, archaeology and architecture. Included are both early exercises in copying works of the "Masters" to improve his technical ability and also mature age studies for paintings, in particular lot 32 a study for the large scale work, the Queen of Sheba and 15 one of thev lions, in the collection of AGNSW. There are also works by Ambrose Poynter, Edward's father , including lot 13 a charming drawing of his son EJP as an infant in 1836.  

In 1975 the family lent works to AGNSW for a project show on the work of Sir Edward curated by Nicholas Draffin ( AGNSW Curator of Drawings) held in Conjunction with the blockbuster "Victorian Olympians" exhibition in June and July of that year. Many of the works in the catalogue were exhibited at AGNSW for that show and are referenced in its catalogue ( copy available at view). 
EJPs youngest son Sir Hugh Poynter ( 1882-1968)became the third Baronet in 1923 and lived a life of travel and luxury. Sir Hugh lived for a time in Constantinople ( now Istanbul) marrying his first wife there in 1905. The residual estate includes charming domestic items from the family's travels, such as the brass temple light with silver inset inscribed prayers. Sir Hugh was wealthy and well educated and well connected in the arts, as well as in politics and commerce. Henry Aloysius Hanke painted a portrait of Sir Hugh Poynter for inclusion in the Archibald Prize 1937 Art Gallery of NSW- this is now offered as lot 72. Sir Hugh married his second wife Linda (the current owner's grandmother ) in Brisbane in 1933 and later settled on the Sydney north shore in Warrawee - the family is captured in a photo in the NLA archives- New South Wales, ca. 1928 

Lot 25 is a cylinder bookcase from the library of the home, which is typical of their wide ranging tastes, featuring veneers from over 8 exotic Queensland timbers and is offered along with other occasional pieces of furniture from that time.  
Over fifty items in total directly descending from Sir Hugh Poynter's family are included in this auction, the remainder being more recent acquisitions in the family tradition of collecting fine and decorative arts. 


Davidson Letitia artist (Frith)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 artist (Davidson)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
Dowling William Paul 6 referencesview 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
Beattie J W 10 refsview 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
Becker Ludwig 3 refsview 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
Bock Alfred numerous refsview 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
Bull Knut 2 refs 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
Calvert Samuel 4 refs 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
Chevalier Nicholas 4 refs 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
Claxton Marshall 2 refs 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
Grosse Frederick 3 refs 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
Hart Conway 3 refs 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
Nettleton Charles 4 refs 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
Nixon Rev Francis 3 refs 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
Sharp John photographer numerous refs 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
von Guerard Eugene 4 refs 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 John numerous refsview 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 numerous refsview 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 numerous refsview 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 Albert numerous refsview 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 family Tasmania numerous refsview 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
King Ingeview full entry
Reference: see The Art of Grahame King [husband of Inge King] by Sasha Grishin. [’Grahame King’s life as an artist began with his mastery of the new art of colour reproduction as a photolithographic colour etcher in Melbourne in the 1930s. At the same time, study at the National Gallery Art School with George Bell assisted his development as a painter. After war service and travels abroad, King returned to Melbourne with his wife, the sculptor Inge King. The two held a number of joint exhibitions of paintings and sculptures in Australia throughout the 1950s and then, from c.1962 Grahame King turned his attention, increasingly, towards the art of lithography becoming a master in this field of printmaking. He has also devoted himself to promoting the art of lithography and printmaking generally through the Print Council of Australia. He is often called Australias patron saint of printmaking. The book examines his seven decades working as an artist in Melbourne and is lavishly illustrated with colour reproductions throughout.’]

Publishing details: Melbourne : Macmillan, 2005. Quarto, boards in dustjacket, pp. 160, illustrated,
National Gallery of Victoria cataloigue 1889view full entry
Reference: Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc. Includes Index list of Painters in Oil’, ‘Index list of Painters in Water-Colour’, and ‘Index list of Portrait Painters’.
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy - filed on shelf with 19th century catalogues]]
Henderson Jamesview full entry
Reference: A history of Brazil, comprizing its geography, commerce, colonization, aboriginal inhabitants, &c. by James Henderson. 1st ed. of Henderson's adaptation of Aires do Casal's "Corografia". Complete with 2 maps (1 folded and colored in outline) and 28 colored lithographs by C. Shoesmith after Henderson's own drawings on the spot, this work offers an excellent visual document on the country. Also present is pl. 23, which was not included in the later edition for non-subscribers. Ref. Borba de Moraes, pp. 334-35. - Abbey, Travel, 706. - Sabin 31314.
Publishing details: London Longman, Hurts, Rees, Orme and Brown 1821 4to: xxiii-522 pp; 30 pl. Contemp. calf, spine with 5 bands, blind-tooled covers
Ref: 1000
scrimshawview full entry
Reference: "SCRIMSHAW, TASMANIAN MUSEUM AND ART GALLERY, HOBART" 1963 exhibition catalogue
Publishing details: TMAG, 1963
Ref: 1000
Jackson Davidview full entry
Reference: see Because Auctions, November 27, 2022
Smeaton Grange, Australia, Lot 213: 12 pieces setting, Vintage David Jackson Australia timber bowl with fruit, including Australian Huone Pine, Sassafras, Tasmanian blackwood, Tasmanian Myrtle, and Tasmanian Blackwood
Est: AUD80 - AUD100


Ephemerality is all very well view full entry
Reference: Ephemerality is all very well : portraits of Rowland S. Howard / Tony Clarke & Lyndal Walker

Publishing details: South Yarra, Victoria : Art Ink, 2019, ? pages, illustrations
Ref: 1000
Pasco-White Jahhneview full entry
Reference: Kin by Jahnne Pasco-White.
‘Kin documents the artist’s pre- and post-pregnancy paintings and drawings, alongside a dozen essayists who interrogate the limits and possibilities of kinship. Edited by N.A.J. Taylor, the book includes original peer-reviewed chapters by: Jessica Bridgfoot, Helen Johnson, Maya Hey, Redi Koobak, Umut Ozguc, Amelia Wallin, Abbra Kotlarczyk, Jennifer Mae Hamilton, Tara McDowell, Kate Wright, Stefanie Fishel and Jan Bryant.






Publishing details: Art Ink and Unlikely Publishing, Melbourne/Naarm, February 2021. 200pp, First Edition of 750

Ref: 1000
Tubbs Marianview full entry
Reference: Marian Tubbs: we need privacy guys here too. Edited by Dana Kopel.
‘’Marian Tubbs: we need privacy guys here too presents a body of work that engages with different facets of contemporary society. Here, Tubbs conflates seemingly disparate aspects of contemporary life to challenge modern notions of worth and value. This book features writing by curator Hamish Sawyer, poet Holly Childs, academic Dr. Nancy Lee and is edited by Dana Kopel, providing context to the social, economic and political conditions that influence Tubbs’ practice.’
Publishing details: Published by Art Ink, 2022? limited edition or 500, 116 pages
25 x 19 x 0.9 cm
Softcover with dustcover 


Ref: 1000
MILLAR W Roy photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
ROBERTS J H photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
MOORE'S STUDIO photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
KANTER Gilsoe photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
PRAHRAN PORTRAIT ROOMS (RUDD Charles)
photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
RUDD Charles photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
MITCHELL Ernest Lund (1876-1959) photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
WAGNER Conrad (1818-1910) photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
SCOTT Robert Vere (1877-1940 photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
NATIONAL PHOTOGRAPHIC COMPANY (WOOLLAHRA)
view full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
GLENNY, Henry photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
FALK STUDIO photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
KIPLING Arthur photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
HEWITT Charles (1837-1912) photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
McDONALD Donald photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
HOWARD & SHEARSBY (YASS) photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
FOXCROFT Frank L photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
AMERICAN & AUSTRALASIAN PHOTOGRAPHIC COMPANY photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
MERLIN, Beaufoy (1830-1873) photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
KRUGER Fred (1831-1888) photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
JOHN KIMBERLEY & CO photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
TAYLOR James photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
NETTLETON Charles photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
CAIRE Nicholas John photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
GREENHAM & EVANS
photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
BURMAN William Jphotographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
ROGERS BROS photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
BRABAZON Dennis photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
WHITNEY BROS. ELECTRIC STUDIO
photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
RICHARDS George photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
SPURLING'S STUDIO [Stephen SPURLING II, 1847–1924] photographers

view full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
SPURLING Stephen II photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
CHUCK & SON
photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
NIXON Stephen E
photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
GORUS John T
photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
AIKENHEAD William (1842-1902) photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
BROKENSHIRE J (Joseph) (1877-1947) photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
PATERSON BROTHERS
photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
CENTRAL PHOTOGRAPHIC COMPANY [EDWARD SANDS] photographersview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
SANDS EDWARD photographer - CENTRAL PHOTOGRAPHIC COMPANY view full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
BLACKADDER Hebert (1877-1937) photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
MCDONALD Donald
photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
NEWMAN John Hubert
photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
DURYEA,Townsend photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
CREELMAN photographerview full entry
Reference: See Douglas Stewart Fine Books online catal;ogue 29.11.22: AUSTRALIAN PHOTOGRAPHS 1860s - 1940s. From historically significant images by well-known photographers to sublime snapshots by anonymous amateurs. Biogtraphical information on photographers is included in many of the catalogue entries
Woolner Thomasview full entry
Reference: see La Trobeana, Journal of the C J La Trobe Society Inc Vol 13, No 3, November 2014, article ‘La Trobe and the
Pre-Raphaelites: launching a brilliant career
in Melbourne, 1853.’ By Caroline Clemente


Publishing details: La Trobeana, Journal of the C J La Trobe Society Inc Vol 13, No 3, November 2014,
Browne Hablot Knight view full entry
Reference: Hablot Knight Browne aka Phiz wrote ‘Chronicles of Crime’, which included illustration of the Myall Creek Massacre, in which at least 28 aboriginal people, including old men, women and babies, were murdered by Australian settlers. In a trial seven men were convicted of this atrocity and hanged. Hablot Knight Browne was related to Melbourne bisinessman Octavius Browne.
Phiz aka Hablot Knight Browneview full entry
Reference: Hablot Knight Browne aka Phiz wrote ‘Chronicles of Crime’, which included illustration of the Myall Creek Massacre, in which at least 28 aboriginal people, including old men, women and babies, were murdered by Australian settlers. In a trial seven men were convicted of this atrocity and hanged. Hablot Knight Browne was related to Melbourne bisinessman Octavius Browne.
Publishing details: https://www.mahurangi.org.nz/2020/03/03/octavius-browne/
Gleeson James 4 refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Friend Donald 3 refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Frater Willliam 6 refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Grieve Robert 3 refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Lindsay Dary various refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Smith Treania 5 refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Thomson Ann 2 refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Thornton Wallace 2 refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Tillers Imants 2 refs and illustrationsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Upward Peter 2 refsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Tomescu Aida 2 refs and illustrationsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Tyndal Peter 2 refs and illustrationsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Walker Robert ref and illusview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Young John 5 refs and illustrationsview full entry
Reference: Fairweather and China By Claire Roberts. [’An exquisitely illustrated appraisal of Australia's 'greatest artist' that explores his fascination with China and its centrality to his body of work Ian Fairweather is one of the most significant twentieth-century artists to have worked in Australia. After a life of wandering, including time spent in China, Bali and the Philippines, Fairweather settled on Bribie Island, off the coast of Queensland, where he built his own house. In 1962 a leading art critic named him 'our greatest painter'. Fairweather is exceptional among modern artists for his experience of Chinese life and culture. He lived and worked in China for extended periods, learnt Chinese and published a book-length translation of the popular Chinese novel The Drunken Buddha (1965). From an early age Fairweather sought alternatives to art based on verisimilitude and single-point perspective. This led to a lifelong engagement with the principles of Chinese art and thought that profoundly shaped his own creative process. Drawing on letters, interviews and other archival materials to shed new light on Fairweather's artistic practice, Claire Roberts brings her own extensive knowledge of Chinese language and art to this absorbing re-examination of a revered artist. Fairweather and China shows how central the China experience is to his emergence as a key transcultural figure, connecting British, European, Chinese and Australian art histories in new and visionary ways. ‘]
Publishing details: MUP, 2021, pb., 320pp. With Index.
Smith Treania numerous refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Bennett Treania - Treania Smith numerous refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Bryans Lina numerous refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Churcher Roy II 4 refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Frater William numerous refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Friend Donald 8 refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Gleeson James 8 refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Lynn Elwyn 5 refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Molvig Jon 5 refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Nolan Sidney 5 refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Olley Margaret various refsview full entry
Reference: see Ian Fairweather: A Life in Letters by
Claire Roberts and John Thompson. [’When he died in 1974 after a long period of self-imposed austerity and improvisation on Bribie Island, Queensland, Ian Fairweather was at the apex of his fame. He had been called ‘our greatest painter’, and his works were keenly sought by galleries, collectors and artists.
Born in 1891 in Scotland, Fairweather had lived a peripatetic life, forever seeking the right place to settle. He was a prodigious and idiosyncratic letter writer—wryly documenting for friends and family members his travels, his struggles with his painting and Chinese translations, and the changing conditions on Bribie, as well as commenting on literature and world affairs.
Seven hundred of the painter’s letters are known to be in existence, and in their selection Claire Roberts and John Thompson have created the definitive volume of Fairweather’s correspondence: the closest thing to an autobiography of one of Australia’s most important and enduring artists.’]
ABOUT THE AUTHORS
Claire Roberts is an associate professor in art history and an ARC Future Fellow at the University of Melbourne, and has published widely on Chinese art and visual culture, and curated numerous exhibitions.

John Thompson is a historian who worked at the National Library of Australia for many years, and the author ofThe Patrician and the Bloke: Geoffrey Serle and the Making of Australian History.
Publishing details: Text Publishing, 2019, 574pp, soft cover, with index.
Mouchette Berthe view full entry
Reference: see 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]
Lion Marieview full entry
Reference: see 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]
Ashton Julian 4 refsview full entry
Reference: see 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]
Catani Ugo 1 refsview full entry
Reference: see 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]
Davidson Bessie 3 refsview full entry
Reference: see 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]
Gill Henry Pelling 4 refsview full entry
Reference: see 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]
Lindt John W 4 refsview full entry
Reference: see 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]
McCubbin Frederick 3 refsview full entry
Reference: see 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]
Preston Margaret 4 refsview full entry
Reference: see 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]
Bartels Frank H illus p83view full entry
Reference: see 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]
Taylor Zaidee illus p126view full entry
Reference: see 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]
Ainsworth Ruth 1 refview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Allan Ailsa 1 refview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Brown Ailsa Lee - Ailsa Allan 1 refview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Allen Joyce 1 refview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Alsop Edith 1 refview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Anderson Ethel 2 refsview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Appleton Jean 3 refsview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Arnott Margaret numerous refsview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Ashton Julian numerous refsview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Adamson Betty student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Anyvett Ray student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Arnott Betty student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Beattie Margaret student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Berndyt Eileen student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Bower L student at Adlaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Cameron Evan student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Capper Vera student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Copeland Mrs student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Dunlop Joan student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Embling Margaret student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Flaxman (Molly?) student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Foote Muriel student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Foster Evelyn student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Givan Chun student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Grace Nancy student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Green Kathryn student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Harding student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Jones Elwyn student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Knowles E student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Kohlhagen Lisettestudent at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Lambert J student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Lancer Editrh student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Marks Joan student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
MacIntyre Elizabeth student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
MacDonald G student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Miller L student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Miln B student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Pagel June student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Phaeffe Roger student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Potts V student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Ridley Gwen student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Roberts Hera ? listed as H Roberts student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Roseberg Ruth student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Roxburgh Rachel student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Russell H student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Shaw Muriel student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Smith J student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Stewart Marjory student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Tabberer Mrs T student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Thompson Hazel student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Vaughan Eileen student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Walters A student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Walton June student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Wilsin Mrs L student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Woodland Miss student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Black Dorrit numerous freferencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Blackburn Vera numerous freferencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Carter Norman 6 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Edwards Mary 10 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Cooper Mary - Mary Edwards 10 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Cornish Muriel 5 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Crowley Grace 8 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Dangar Anne 8 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Dattilo Rubbo A 5 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
De Maistre Roy numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Dobell William 5 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Dundas Douglas 8 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Feint Adrien 8 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Fizelle Rah 3 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Grosvenor Galleries numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Gruner Elioth 6 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Haefliger Paul 6 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Hall Bernard 6 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Hill B Mrs student at Adelaide Perry Schoolview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Lahey V 3 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Lambert George numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Lewis Aletta 4 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Longstaff Sir John 4 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Macquarie Galleries numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Moore John D numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Murch Arthur numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Passmore John numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Preston Margaret numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Proctor Thea numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Rees Lloyd numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Sherwood Maud 5 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Shore Arnold 4 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Spowers Ethel numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Syme Evelyn 5 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Thornhill Dorothy referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Wakelin Roland numerous referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Watkins J S 3 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Wilson Eric 5 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Young Blamire 5 referencesview full entry
Reference: see Adelaide Perry : artist & teacher / Jo Oliver. ‘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,. With Index.
Designview full entry
Reference: see Frances Burke - Designer of Modern Textiles. By: Nanette Carter, Robyn Oswald-Jacobs.
[’An elegantly illustrated celebration of iconic Australian designer Frances Burke.
‘Frances Burke was Australia's most influential and celebrated textile designer of the 20th century. From the late 1930s to 1970, her designs achieved a prominence unparalleled in Australia before or since. Displaying imagery and colours from native flora, marine objects, Indigenous artefacts and designs of pure abstraction, Burke's innovative fabrics remain fresh and appealing, distinctive and evocative of Australia. In New Design, her fabric showroom and interior design consultancy, Burke presented modern furniture by emerging local designers of the postwar period. Drawing on regular visits to the US, UK, Europe, Japan and Taiwan she became an authoritative advocate for modern design.Burke also collaborated with leading architects and interior designers, including Robin Boyd, her fabrics making arresting contributions to influential modern buildings.

In this long-awaited, richly illustrated work, Nanette Carter and Robyn Oswald-Jacobs have located and unpacked the different components of a body of work never presented as art or intended simply for display, but which contributed so much to the felt experience of Australian life in the middle decades of the twentieth century.’]
Publishing details: The Miengunyah Press, 2021, 240pp. With index.
Allen Mary Cecilview full entry
Reference: see Frances Burke - Designer of Modern Textiles. By: Nanette Carter, Robyn Oswald-Jacobs.
[’An elegantly illustrated celebration of iconic Australian designer Frances Burke.
‘Frances Burke was Australia's most influential and celebrated textile designer of the 20th century. From the late 1930s to 1970, her designs achieved a prominence unparalleled in Australia before or since. Displaying imagery and colours from native flora, marine objects, Indigenous artefacts and designs of pure abstraction, Burke's innovative fabrics remain fresh and appealing, distinctive and evocative of Australia. In New Design, her fabric showroom and interior design consultancy, Burke presented modern furniture by emerging local designers of the postwar period. Drawing on regular visits to the US, UK, Europe, Japan and Taiwan she became an authoritative advocate for modern design.Burke also collaborated with leading architects and interior designers, including Robin Boyd, her fabrics making arresting contributions to influential modern buildings.

In this long-awaited, richly illustrated work, Nanette Carter and Robyn Oswald-Jacobs have located and unpacked the different components of a body of work never presented as art or intended simply for display, but which contributed so much to the felt experience of Australian life in the middle decades of the twentieth century.’]
Publishing details: The Miengunyah Press, 2021, 240pp. With index.
Best Marion Hallview full entry
Reference: see Frances Burke - Designer of Modern Textiles. By: Nanette Carter, Robyn Oswald-Jacobs.
[’An elegantly illustrated celebration of iconic Australian designer Frances Burke.
‘Frances Burke was Australia's most influential and celebrated textile designer of the 20th century. From the late 1930s to 1970, her designs achieved a prominence unparalleled in Australia before or since. Displaying imagery and colours from native flora, marine objects, Indigenous artefacts and designs of pure abstraction, Burke's innovative fabrics remain fresh and appealing, distinctive and evocative of Australia. In New Design, her fabric showroom and interior design consultancy, Burke presented modern furniture by emerging local designers of the postwar period. Drawing on regular visits to the US, UK, Europe, Japan and Taiwan she became an authoritative advocate for modern design.Burke also collaborated with leading architects and interior designers, including Robin Boyd, her fabrics making arresting contributions to influential modern buildings.

In this long-awaited, richly illustrated work, Nanette Carter and Robyn Oswald-Jacobs have located and unpacked the different components of a body of work never presented as art or intended simply for display, but which contributed so much to the felt experience of Australian life in the middle decades of the twentieth century.’]
Publishing details: The Miengunyah Press, 2021, 240pp. With index.
Haxton Elaine 3 refsview full entry
Reference: see Frances Burke - Designer of Modern Textiles. By: Nanette Carter, Robyn Oswald-Jacobs.
[’An elegantly illustrated celebration of iconic Australian designer Frances Burke.
‘Frances Burke was Australia's most influential and celebrated textile designer of the 20th century. From the late 1930s to 1970, her designs achieved a prominence unparalleled in Australia before or since. Displaying imagery and colours from native flora, marine objects, Indigenous artefacts and designs of pure abstraction, Burke's innovative fabrics remain fresh and appealing, distinctive and evocative of Australia. In New Design, her fabric showroom and interior design consultancy, Burke presented modern furniture by emerging local designers of the postwar period. Drawing on regular visits to the US, UK, Europe, Japan and Taiwan she became an authoritative advocate for modern design.Burke also collaborated with leading architects and interior designers, including Robin Boyd, her fabrics making arresting contributions to influential modern buildings.

In this long-awaited, richly illustrated work, Nanette Carter and Robyn Oswald-Jacobs have located and unpacked the different components of a body of work never presented as art or intended simply for display, but which contributed so much to the felt experience of Australian life in the middle decades of the twentieth century.’]
Publishing details: The Miengunyah Press, 2021, 240pp. With index.
Stone Alfredview full entry
Reference: see Ebay listing 30.11.22:
ALFRED STONE (1914-)
“Polynesian Boy, Suva” (1948)
Oil on board
60 x 50m
Signed lower right
*private collection, Melbourne
Stone was a respected Australian Modernist. Born in Mildura, he was raised in Melbourne by his mother, prolific artist, Alice Stone. He was a student of celebrated painter, teacher, and pioneering Tonalist, Max Meldrum, and shared a studio with his mother in Brighton. He relocated to Laucala Bay, Suva, to work in his primary profession, as a pharmacist for the British Phosphate Company. He soon began exhibiting with the Fiji Arts Club & Grand Pacific Hotel, and became a painting instructor at the Fine Arts Section, teaching over 20 pupils the principles of the Meldrum School. When William Dargie's portrait of Albert Namatjira was excluded from London's first 'official' exhibition of Modern Australian Painting, it perplexed Stone, who believed that "barriers should not be raised... Painting should be free and not divided into countries and cliques." Stone had been painting the indigenous population of Fiji in a series of landscapes and portraits for years, and presented these at the Fiji Art Club in 1953. This fascinating portrait was part of that exhibition.

Yang Williamview full entry
Reference: see Openbook, magazine of the State Library oif NSW, Summer 2022: article ‘A Landmark Exhibition was a snapshopt of the city’, by Dr Sally Gray, p13-7 illustrated
Dunera artists - exhibition in Orangeview full entry
Reference: see Openbook, magazine of the State Library oif NSW, Summer 2022: article ‘Enemy Aliens’, on forthcoming exhibition in Orange, NSW. P60-3, illustrasted.
Hofman Robert in Dunera exhibition in Orangeview full entry
Reference: see Openbook, magazine of the State Library oif NSW, Summer 2022: article ‘Enemy Aliens’, on forthcoming exhibition in Orange, NSW. P60-3, illustrasted.
Teltscher Geog in Dunera exhibition in Orangeview full entry
Reference: see Openbook, magazine of the State Library oif NSW, Summer 2022: article ‘Enemy Aliens’, on forthcoming exhibition in Orange, NSW. P60-3, illustrasted.
Bauhaus in Australia in Dunera exhibition in Orangeview full entry
Reference: see Openbook, magazine of the State Library oif NSW, Summer 2022: article ‘Enemy Aliens’, on forthcoming exhibition in Orange, NSW. P60-3, illustrasted.
Hirschfeld-Mack Ludwig in Dunera exhibition in Orangeview full entry
Reference: see Openbook, magazine of the State Library oif NSW, Summer 2022: article ‘Enemy Aliens’, on forthcoming exhibition in Orange, NSW. P60-3, illustrasted.
Fabian Erwin in Dunera exhibition in Orangeview full entry
Reference: see Openbook, magazine of the State Library oif NSW, Summer 2022: article ‘Enemy Aliens’, on forthcoming exhibition in Orange, NSW. P60-3, illustrasted.
Friedeberger Klaus in Dunera exhibition in Orangeview full entry
Reference: see Openbook, magazine of the State Library oif NSW, Summer 2022: article ‘Enemy Aliens’, on forthcoming exhibition in Orange, NSW. P60-3, illustrasted.
Dunera artist Erwin Fabian view full entry
Reference: see 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
Pre-Raphaelite Sculpture: Nature and Imagination in British Sculptureview full entry
Reference: see Pre-Raphaelite Sculpture: Nature and Imagination in British Sculpture, by B. Read and J. Barnes ( cds ). Contents include Bernhard Smith: "The missing brother" / by Juliet Peers -- Thomas Woolner : PRB, RA / by Benedict Read -- Beyond Captain Cook : Thomas Woolner and Australia / by Juliet Peers -- Thomas Woolner and the image of Tennyson.
Publishing details: London: The Henry Moore Foundation in association with Lund Hmnphries, 1991, pp. 34-39.
Folingsby George Frederick Bunyan in Prison with details and biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Short Henry brief biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Chevalier Nicholas Buffalo Ranges notes and brief biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Gritten Henry C Mitta Mitta notes and brief biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Buvelot Louis near Heidelberg notes and brief biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Glover John no 26 notes and brief biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
von Guerard E notes and brief biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Dowling Robert - A Shekh and his son notes and brief biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Gregory G colonial brig Lady Nelson with notes view full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Ford William with notes and brief biogview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Davies H E at least 1 waterclour listedview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Gully John 3 NZ waterclours listedview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Crowe James NZ waterclour listedview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Gill W B bush life 9 sketches in waterclour listedview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Martens Conrad at least 1 waterclour listedview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Brierly O W at least 1 waterclour listedview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Austin William Arrival of the first gold escort waterclour listed p52view full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Hingston Samuel NZ waterclour listed p52view full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
O’Brien George 2 waterclours of St Kilda listed p52view full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Strafford George waterclours of Richmond and Melbourne listed p52view full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Clark Thomas portrait of Sir Henry Barklyview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Chevalier Nicholas portrait of Dr Maundview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Weigall Henry portrait of Dr Perryview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Kemp John portraits of John Pascoe Fawkner and Edward Hentyview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Lindo Philip portrait of Augustus Henry Tulkview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Thomas Margaret portrait of Charles Summersview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Summers Charles portrait of by Margaret Thomas view full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
A’Beckett E portraits of Hume the Explorer and James Macpherson Grantview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Folingsby George F portraits late W S Lyster, James Service and Charles Sladenview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Flintoff T portrait sof G A Thomson and Sir William John Clarkview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
Dowling Robert portrait sof Lord Melbourne and George Evansview full entry
Reference: see Catalogue of the Oil Paintings Watercolour Drawings and Portraits in the National Gallery of Victoria. Includes biographical information of many artists. Artists include John Glover, Conrad Martens, von Guerard, etc
Publishing details: Melbourne: NGV printed by Mason Firth and M'Cutcheon, Flinders Lane 1889. Octavo size. [Photocopy]
photography contemporaryview full entry
Reference: see Prizing diversity : the Josephine Ulrick prizes, 1998-2014, edited by Virginia Rigney and Nigel Krauth. To be indexed] [’This publication celebrates the generosity of two Gold Coast arts identities – Win Schubert and the late Josephine Ulrick – who have, since 1992, sponsored short story, poetry and photography awards administered by the Gold Coast City Gallery and Griffith University.
Here the dichotomy of ‘word and image’ is addressed in a volume that brings visual and literary forms of expression together in an exciting and unusual way. It presents, in chronological order, the prize-winning entries of each year. The photography now forms part of the Gold Coast City Gallery’s notable contemporary photography collection while the winning short stories and poems have frequently gone on to be published in literary journals and anthologies. Of great significance are the judges, who have included major Australian literary figures and leading art photographers and collectors. Their names and comments are included in the book, giving it additional interest to a wide readership. The book has been designed in a way that captures the particular spirit and ambience of the Gold Coast and conveys the characteristics of the special range of talents that these awards attract.
Includes works by Shaun Gladwell, Polixeni Papapetrou, Shayne Higson, Julie Rrap, Jacky Redgate, Darren Sylvester, Liam Benson, John Gollings, and many others

Publishing details: Melbourne : Thames & Hudson Australia, 2015. Quarto, illustrated laminated boards, pp. 271, illustrated.
Lowenstein Arts Management Collectionview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Bawdon Lionelview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Bradbeer Godwinview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [To be indexed fully - about 20 artists have been indexed. Some biographical information on the artists may be included in this book]. [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Dimopoulos Konstantinview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Floyd Emilyview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Faulkner Sarahview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Ford Juanview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Hagerty Mariaview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Harris Steveview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Hobson Samanthaview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Kibel Jeremyview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Kosmas Alexview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Le Grand Michaelview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Loy Abie Kemarre view full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Nain Clintonview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Namok Rosellaview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Ormandy Stephenview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Persson Stiegview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Strampp Adrianeview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Wickham Stephenview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Williams Megview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
Yeldham Joshuaview full entry
Reference: see Accounting for Taste - The Lowensteins Arts Management Collection, Text by Professor Sasha Grishin, AM. [The 135 artists included have been entered into the Scheding Index. Some biographical information on the artists may be included in this book] [’Author Sasha Grishin has used a musical analogy to categorise the more than 250 lavishly reproduced artworks by 135 artists of Australia's post-war years that are included in this book. Recalling the movements of a symphony, he divides the artworks into four 'movements': 'Humanist Moderns', 'Formalist Moderns', those for whom the landscape is relevant and, lastly, a variety of painters and sculptors more difficult to fit into a cohesive group. The 'Prelude' which introduces the book tells the story of accountant Tom Lowenstein who, with his partners, experimented in art collecting in the 1970s before - together with his son Evan and a colleague Adam Micmacher - establishing the present Lowensteins Arts Management Collection which currently hangs in Melbourne and Sydney. Befriending artists like John Olsen, Charles Blackman and Arthur Boyd, he was privvy to sound advice while he developed his own aesthetic judgement. The collection is rich in works by Olsen, Blackman and Boyd, and then by a splendid array of artists including Danila Vassilieff, George Baldessin, Colin Lanceley, Garry Shead, Peter Booth, Yvonne Audette, John Walker, Alun Leach-Jones, Sally Smart, David Rankin, Imants Tillers, Allan Mitelman, and Robert Jacks. Prominent sculptors include Akio Makigawa, Ron Robertson-Swann and Robert Klippel. Then there are exciting younger artists like Ricky Swallow, Matthew Johnson, Angela Brennan and Jasper Knight. Indigeus artists Freddie Timms, Rosella Namok, Richard Bell, Danie Mellor and Lin Onus are also well represented.’]
Publishing details: Macmillan Art Publishing, Lowenstein’s. 2013, 288pp, hc, dw,
University of Melbourne Collectionview full entry
Reference: see Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.


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

Summers Charles article p30view full entry
Reference: see Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.


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

Prout John Skinner article p34view full entry
Reference: see Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.


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

Strutt William article p36 and p 76view full entry
Reference: see Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.


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

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


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

Atkinson Louisa in article on James Atkinson p42view full entry
Reference: see Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.


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

Dale Robert article p44view full entry
Reference: see Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.


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

Havell Robert article p44view full entry
Reference: see Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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


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