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The Scheding Index of Australian Art & Artists

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Showing 1,000 records of 1,000 total. We are displaying one thousand.

First | Previous | Record 146,551 – 147,550 of 1,000

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.

Lambert George 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.

Wood Francis Derwent 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.

Grainger Rose 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.

de Meyer Adolph 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.

Alsop Edith 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.

French Leonard 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.

Mundukul Yirrawarra 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.

Trinick John 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.

Gilbert Charles Web 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.

Greenwood Garry 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.

Jones Tim 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.

Fairweather Ian 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.

Mackennal Bertram Salome 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.

Hall L Bernard 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.

Streeton Arthur 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.

Davies David 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.

Bryans Lina 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.

Boyd Arthur 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.

Willaims Fred 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.

King Inge 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.

Stones Margaret 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.

Hirschfeld-Mack L 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.

Greenaway Victor 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.

Menpes Mortimer 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.

McCubbin Frederick 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 Lionel 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.

Griffin Murray 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.

Waller Napier 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.

Annand Douglas 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.

Dobell 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.

Hester Joy 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.

Balson Ralph 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.

Thake Eric 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.

Rooney 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.

Watson Jenny 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.

Griffin Walter Burley article p290view 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.

Bardas Sandra and David - Coppin Grove Collectionview full entry
Reference: see The Coppin Grove collection of Sandra and David Bardas / David Bardas [and Jenny Zimmer ; with an introduction by Gerard Vaughn]. [’This comprehensively illustrated volume tells the story of two people - Sandra Bardas (nee Smorgon) and David Bardas - who inherited from their parents a deep appreciation of the visual arts and were convinced of the importance of having art around them in the family home. They did not set out to form a collection but now, half a century later, that is undoubtedly what it is. The artworks they bought, usually by mutual consent and with great enthusiasm, were acquired from local galleries or discovered while on business trips abroad. Today they form a fascinating assemblage featuring many important works by European modernists from the Post Impressionists to the School of Paris. Represented are artists such as Cezanne, Picasso, Braque, Signac, Derain, Bonnard, Leger and Vlaminck. Australian artists in the collection include John Brack, John Olsen, Brett Whiteley, Arthur Boyd and Sidney Nolan - and others of the next generation with whom Sandra Bardas studied at art school in the late 1950s. Somewhat unusually, the collection also reflects a strong interest in sculpture, with works by Europeans Pino Conte, Jacques Lipchitz and Auguste Rodin as well as the Australians Brett Whiteley, George Baldessin, Tony Pryor, Gus Dall'Ava and Bruce Armstrong. Apart from showcasing the collection, this book offers intriguing insights into a family's dedication to lives lived in the presence of objects evidencing human creativity and the joy they bring.’]
Publishing details: Macmillan, 2011.
176 p. : ill. (some col.), ports. ; 32 x 26 cm
Bardas Sandra various works by pages 33-5view full entry
Reference: see The Coppin Grove collection of Sandra and David Bardas / David Bardas [and Jenny Zimmer ; with an introduction by Gerard Vaughn]. [’This comprehensively illustrated volume tells the story of two people - Sandra Bardas (nee Smorgon) and David Bardas - who inherited from their parents a deep appreciation of the visual arts and were convinced of the importance of having art around them in the family home. They did not set out to form a collection but now, half a century later, that is undoubtedly what it is. The artworks they bought, usually by mutual consent and with great enthusiasm, were acquired from local galleries or discovered while on business trips abroad. Today they form a fascinating assemblage featuring many important works by European modernists from the Post Impressionists to the School of Paris. Represented are artists such as Cezanne, Picasso, Braque, Signac, Derain, Bonnard, Leger and Vlaminck. Australian artists in the collection include John Brack, John Olsen, Brett Whiteley, Arthur Boyd and Sidney Nolan - and others of the next generation with whom Sandra Bardas studied at art school in the late 1950s. Somewhat unusually, the collection also reflects a strong interest in sculpture, with works by Europeans Pino Conte, Jacques Lipchitz and Auguste Rodin as well as the Australians Brett Whiteley, George Baldessin, Tony Pryor, Gus Dall'Ava and Bruce Armstrong. Apart from showcasing the collection, this book offers intriguing insights into a family's dedication to lives lived in the presence of objects evidencing human creativity and the joy they bring.’]
Publishing details: Macmillan, 2011.
176 p. : ill. (some col.), ports. ; 32 x 26 cm
Art Gallery of Ballarat Associationview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Ballarat Art Gallery Associationview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Anderson Wallace referenceview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Boyd Arthur 3 refs and illustsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Brack John 3 refs and illustsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Buzacott Nutter ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Coates George 2 refsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Cohn Ola ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Davies David various refs and illustsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Heysen Hans various refs and illustsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Dobell William ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Doudiet Charles ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Eureka flag ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Fox Phillips ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Gilbert Charles ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
von Guerard E various refs and illustsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Hallandal Pam 2 refsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Ken Tjungkara ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Lewis Edward Goodwyn refs and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Lindsay Lionel refs and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Lindsay Norman refs view full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Lindsay Percy refs view full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Wilson L J bequestview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Mainwaring Geoffrey refs view full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Mayo Daphne ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Meeson Dora ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Nolan Sidney various refs and illustsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Passmore John ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Pilven Ruby ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Power Septimus ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Power J Wardell ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Price Thomas ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Roberts Tom refs view full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Rowell John ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Smith Herbert Henry various refs and illustsview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Waller Christian ref and illustview full entry
Reference: see Not for self but for all : a history of the Art Gallery of Ballarat Association. By Anne BEGGS-SUNTER. With Index. [’The history was commissioned by the Art Gallery of Ballarat Association, the community organisation which founded the Gallery in 1884 and still exists as a support organisation for the Gallery. The book is intended to celebrate the human story of the Gallery by paying tribute to the many people who have supported it and worked to ensure its development and growth over the years.
The title of the book, Not for self but for all, comes from an early crest of the Gallery devised by James Powell, the Association’s first secretary, who wrote an important account of the establishment of the Gallery in 1896.’]
Publishing details: Ballarat : Art Gallery of Ballarat, 2018. Quarto, laminated card wrappers, pp. 212, illustrated.
Wendel Robertview full entry
Reference: At The Australiana Fund - Print:
C Troedel & Co., established 1863, after an original painting by Robert Wendel, active 1860–1881, 'View of Sydney and the harbour from Mossman’s Bay', Melbourne, Victoria, 1880, coloured lithograph, 39.5 x 60 cm. Purchased 1982. 1982.3 
Title
C Troedel & Co., after an original painting by Robert Wendel, 'View of Sydney and the harbour from Mossman’s Bay', Melbourne, 1880, coloured lithograph
Creator
Charles Johannes Theodore Troedel (1835-1906)
Published
c.1880
Roper Edwardview full entry
Reference: see Douglas Stewart Fine Books catalogue December, 2022:
Edward Roper 1832-1909: An Australian pastoral, showing shepherd’s hut, & the Chinese shepherd.
[Title from artist’s caption verso]. Watercolour on artist’s paper, 25.5 x 50 cm; inscribed by the artist in ink verso: ’15. An Australian pastoral, showing shepherd’s hut, & the Chinese shepherd / Copyright reserved / [signed] Edward Roper‘; framed.
This work is unquestionably related to two other watercolours by Roper, both done on the Victorian goldfields during the English artist’s first visit to Australia in 1857-8: The Goldfields of Australia, Ararat (31 x 51 cm) (Bonhams, London, Travel & Exploration, 06/02/2019, Lot 17), which was a detailed preparatory study for the oil painting Gold diggings, Ararat held in the Dixson Galleries, State Library of New South Wales (Accession no.: 840136); and Big one Corroborree [sic] / A sort of festival amongst the Australian Blacks (30 x 50 cm) (Menzies, Australian & International Fine Art, Sydney, 30/11/2017, Lot 2). It probably also relates to a third work – a gold mining scene (32.5 x 48.4 cm), held in the National Library of Australia (Rex Nan Kivell Collection NK1060), which is attributed to Roper. The four works share the same dimensions, and it is highly likely that they all originated from the same sketchbook belonging to the travelling artist.
It is estimated that during the 1840s, following the cessation of convict transportation to New South Wales (1840) and the signing of the Treaty of Nanking at the end of the First Opium War (1842), between 3000 and 10,000 Chinese men and boys were brought as indentured labourers to Australia from famine-stricken Amoy (present-day Xiamen, in Fujian province) to compensate for the now absent convict labour force. Most of these males were exploited as poorly-paid shepherds in Victoria and New South Wales. Their contracts did not allow them to legally abandon their employment, meaning that those still in Australia at the end of 1851 could not even join the gold rushes to seek their fortunes.


Gunyah Goondieview full entry
Reference: Gunyah Goondie + Wurley. The Aboriginal Architecture of Australia.
The updated edition of the definitive guide to Australian Indigenous architecture, richly illustrated with rare photographs.
Here is the definitive guide to Australian Indigenous architecture, comprehensively updated to showcase the flourishing Indigenous design practices reshaping Australia’s architectural landscape.
The award-winning Gunyah Goondie + Wurley: The Aboriginal Architecture of Australia is the only continental survey of this country’s First Nations’ innovative architecture. It explores the range and complexity of Indigenous-designed structures and spaces, from minimalist shelters to semi-permanent houses and villages, debunking false perceptions of early Aboriginal constructions and settlements.
Built on decades of research and field work and richly illustrated with rare photographs, Gunyah Goondie + Wurley offers insight into the lifestyles and cultural heritage of Australia’s Indigenous peoples, and how they combine to have a dynamic influence on this country.
‘Among Australia’s great ethnographers, from Elkin to Merlan, Stanner to Sutton, Paul Memmott’s long work with the great tribes of the Carpentarian gulf, and in particular his work on the ethnography of domicile and habitat in Australia, is a monumental achievement for which we can only express great esteem and gratitude.’
– Noel Pearson
‘Anyone still thinking that terra nullius describes pre-colonial Australia should read this book. There are words and images here that should stop Australians in their tracks. Your country is a rich one, Australia, please learn her story, learn to love her.’
– Bruce Pascoe
‘Ingenious insights into Aboriginal space, place and design.’
– Jackie Huggins
‘An architecture which was invisible to white invaders turns out to be as complex as the religious laws and kinship rules of the society that produced it. I thoroughly enjoyed it.’
– Peter Carey
‘This book should be the prescribed reference work for all involved in town planning, civil construction and especially housing and accommodation involving Aboriginal and Torres Strait Islander residents.’
– Marcia Langton
 

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, illustrated boards, pp. (to be confirmed), illustrated.
Ref: 1000
Aboriginal architectureview full entry
Reference: see Gunyah Goondie + Wurley. The Aboriginal Architecture of Australia.
The updated edition of the definitive guide to Australian Indigenous architecture, richly illustrated with rare photographs.
Here is the definitive guide to Australian Indigenous architecture, comprehensively updated to showcase the flourishing Indigenous design practices reshaping Australia’s architectural landscape.
The award-winning Gunyah Goondie + Wurley: The Aboriginal Architecture of Australia is the only continental survey of this country’s First Nations’ innovative architecture. It explores the range and complexity of Indigenous-designed structures and spaces, from minimalist shelters to semi-permanent houses and villages, debunking false perceptions of early Aboriginal constructions and settlements.
Built on decades of research and field work and richly illustrated with rare photographs, Gunyah Goondie + Wurley offers insight into the lifestyles and cultural heritage of Australia’s Indigenous peoples, and how they combine to have a dynamic influence on this country.
‘Among Australia’s great ethnographers, from Elkin to Merlan, Stanner to Sutton, Paul Memmott’s long work with the great tribes of the Carpentarian gulf, and in particular his work on the ethnography of domicile and habitat in Australia, is a monumental achievement for which we can only express great esteem and gratitude.’
– Noel Pearson
‘Anyone still thinking that terra nullius describes pre-colonial Australia should read this book. There are words and images here that should stop Australians in their tracks. Your country is a rich one, Australia, please learn her story, learn to love her.’
– Bruce Pascoe
‘Ingenious insights into Aboriginal space, place and design.’
– Jackie Huggins
‘An architecture which was invisible to white invaders turns out to be as complex as the religious laws and kinship rules of the society that produced it. I thoroughly enjoyed it.’
– Peter Carey
‘This book should be the prescribed reference work for all involved in town planning, civil construction and especially housing and accommodation involving Aboriginal and Torres Strait Islander residents.’
– Marcia Langton
 

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, illustrated boards, pp. (to be confirmed), illustrated.
architecture - Aboriginal view full entry
Reference: see Gunyah Goondie + Wurley. The Aboriginal Architecture of Australia.
The updated edition of the definitive guide to Australian Indigenous architecture, richly illustrated with rare photographs.
Here is the definitive guide to Australian Indigenous architecture, comprehensively updated to showcase the flourishing Indigenous design practices reshaping Australia’s architectural landscape.
The award-winning Gunyah Goondie + Wurley: The Aboriginal Architecture of Australia is the only continental survey of this country’s First Nations’ innovative architecture. It explores the range and complexity of Indigenous-designed structures and spaces, from minimalist shelters to semi-permanent houses and villages, debunking false perceptions of early Aboriginal constructions and settlements.
Built on decades of research and field work and richly illustrated with rare photographs, Gunyah Goondie + Wurley offers insight into the lifestyles and cultural heritage of Australia’s Indigenous peoples, and how they combine to have a dynamic influence on this country.
‘Among Australia’s great ethnographers, from Elkin to Merlan, Stanner to Sutton, Paul Memmott’s long work with the great tribes of the Carpentarian gulf, and in particular his work on the ethnography of domicile and habitat in Australia, is a monumental achievement for which we can only express great esteem and gratitude.’
– Noel Pearson
‘Anyone still thinking that terra nullius describes pre-colonial Australia should read this book. There are words and images here that should stop Australians in their tracks. Your country is a rich one, Australia, please learn her story, learn to love her.’
– Bruce Pascoe
‘Ingenious insights into Aboriginal space, place and design.’
– Jackie Huggins
‘An architecture which was invisible to white invaders turns out to be as complex as the religious laws and kinship rules of the society that produced it. I thoroughly enjoyed it.’
– Peter Carey
‘This book should be the prescribed reference work for all involved in town planning, civil construction and especially housing and accommodation involving Aboriginal and Torres Strait Islander residents.’
– Marcia Langton
 

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, illustrated boards, pp. (to be confirmed), illustrated.
Ryrie John view full entry
Reference: The wood collector’s son. By Dagmara Gieysztor & John Ryrie.
Publishing details: Melbourne : the artist, 2018. Artist’s book, lettered boards, stitch bound, 255 x 205 mm, pp. [28], printed with linocuts, limited edition of 18 signed and numbered copies.
Ref: 1000
Ryrie John view full entry
Reference: The wise king. Kahlil Gibran ; linocuts by John Ryrie.
Ryrie’s graphically illustrated version of the Lebanese-American writer’s poem.
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, 2016. Artist’s book, linocut illustrated boards, stitch bound, 265 x 215 mm, pp. [28], printed with linocuts, limited edition of 16 signed and numbered copies.
Ref: 1000
Lindsay Rubyview full entry
Reference: see Poems in Memory of a Wife [Ruby Lindsay] by Will Dyson.
Publishing details: Cecil Palmer, London, 1919. illustrated wrappers over cards, pp. 39, with a Ruby Lindsay reproduction on the front wrapper and title page
Greenberg Joe (1923 - 2007)view full entry
Reference: see Douglas Stewar Fine Books catalogue, December, 2022: Original cover art for Woman’s day and home. Gouache on artist’s board, circa 1955, 560 x 420 mm (image); signed lower right, framed in a 1950s style shadowbox timber frame. Inscribed by the artist verso ‘Cover art for 1950s ‘Woman’s Day’.
A charming and vibrant work by commercial illustrator Joseph (Joe) Greenberg showing a group of schoolboys frolicking by the water, revelling their summer holidays. Lower left one boy is perusing Woman’s Day and Home.
Provenance:
the estate of the late Joe Greenberg.


Ryrie John view full entry
Reference: Fantastic fables. By Ambrose Bierce, with linocuts by John Ryrie. “Selected from Fantastic fables by Ambrose Bierce published in 1898. This book was made in 2018. With 15 linocuts,
Publishing details: Melbourne : the artist, 2018. Artist’s book, lettered boards, stitch bound, 265 x 235 mm, pp. [28], printed with linocuts, limited edition of 14 signed and numbered copies.
Ref: 1000
De Lisle Gordonview full entry
Reference: Of woman, love and beauty. Australian commercial photographer Gordon De’Lisle’s female nudes, accompanied by literary quotes from famous writers.

Publishing details: South Melbourne : Joey Books, 1970]. First edition. Large quarto (305 x 260 mm), publisher’s white synthetic cloth over boards (some marks and rubbing), spine lettered in gilt, [92] pp., chiefly b/w photographic reproductions
Ref: 1000
De’Lisle Gordon view full entry
Reference: see De Lisle Gordon
Hinton Howardview full entry
Reference: The Howard Hinton collection of ceramic art. Period 1899 to 1939.
Publishing details: Melbourne : Leonard Joel Pty. Ltd., 1942. Octavo, lettered wrappers (annotated, wear to spine), pp. [24], 500 lots.
Ref: 1000
ceramic art Hinton collectionview full entry
Reference: see The Howard Hinton collection of ceramic art. Period 1899 to 1939.
Publishing details: Melbourne : Leonard Joel Pty. Ltd., 1942. Octavo, lettered wrappers (annotated, wear to spine), pp. [24], 500 lots.
pottery Hinton collectionview full entry
Reference: see The Howard Hinton collection of ceramic art. Period 1899 to 1939.
Publishing details: Melbourne : Leonard Joel Pty. Ltd., 1942. Octavo, lettered wrappers (annotated, wear to spine), pp. [24], 500 lots.
Friend Donaldview full entry
Reference: Treasured works by Donald Friend. Catalogue of 27 illustrated works with an insert of artists who painted with Friend.
Publishing details: Sydney, Savill Galleries, 2012. Quarto, illustrated wrappers, slightly sunned, pp. [20], illustrated.
Ref: 1000
Alston Aby 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Abrahams Louis p65-6 view full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Archibald Prize numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Ashton Will 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Atyeo Sam p193-5 212view full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Bale Alice 4 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Bayliss Cliff 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Bell George numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Boyd Penleigh numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Buckmaster Ernest 7 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Carter Norman 9 refs refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Coates George 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Cohen Isaac 3 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Colahan Colin 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Colquhoun Alexander 5 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Smith Grace Cossington 3 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Crowley Grace 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Crozier Frank 6 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Cumbrae-Stewart Janet 6 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Davies David 4 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Dent Eileen 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Dyson Will 3 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Edwards Mary 3 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Eldershaw John 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Farmer John 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Frater Jock numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Grant Gwendoline 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Gruner Elioth 4 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Gude Nornie 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Hall L Bernard numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Hall Oswald 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Harcourt Clewin 6 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Herbert Harold numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Heysen Hans numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Hoff Rayner 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Jenkins Constance 4 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Lahey Vida 3 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Lambert George W numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Lawler Adrian 3 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Leason Percy 6 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Leist Fred 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Lewis Stella 2 refsview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Lindsay Daryl numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Lindsay Norman numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Lindsay Lionel 4 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Lindsay Ruby 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Longstaff John numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
MacDonald J S numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Macgeorge Norman numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Mackie Eric Spencer 1 refview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
MacNalley Matthew James 4 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Mayo Daphne 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
McClelland Harry 8 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
McCubbin Frederick numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
McCubbin Louis numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
McInnes family numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Meeson Dora 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Meldrum Max numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Waller Mervyn Napier 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Nibbi Gino 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Nolan Sidney 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Paterson Esther 4 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Fox E Phillips 5 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Power H Septimus 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Preston Margaret 5 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Poctor Thea 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Quinn James 6 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Ramsay Hugh 6 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Nicholas Hilda Rix 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Roberts Hera 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Roberts Tom 6 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Rodway Florence 5 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Rowell John 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Shirlow John 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Shore Arnold 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Smith Syd Ure 8 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Streeton Arthur numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Sturgess Reg 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Sutherland Ruth 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Teague Violet 3 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Traill Jessie 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Wakelin Roland 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Wheeler Charles numerous referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Wilkie Leslie 2 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Withers Walter 4 referencesview full entry
Reference: see William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index.
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.
Backhaus-Smith Rexview full entry
Reference: see McCulloch Alan, Encyclopedia of Australian Art , 2 vols, A-K and L-Z, Hutchinson, 1984, hc, dw.[The later editions have not been indexed]
Dupain Max and Rexview full entry
Reference: Inside Sydney - photographs by Max & Rex Dupain
Publishing details: Frenchs Forest, N.S.W. : New Holland Publishers, 2004 
160 p. : photos.
Ref: 1009
Dupain Rexview full entry
Reference: see Inside Sydney - photographs by Max & Rex Dupain
Publishing details: Frenchs Forest, N.S.W. : New Holland Publishers, 2004 
160 p. : photos.
Baudin Nicholasview full entry
Reference: THE JOURNAL OF POST CAPTAIN NICOLAS BAUDIN, COMMANDER-IN-CHIEF OF THE CORVETTES GEOGRAPHE AND NATURALISTE
Nicolas Baudin
Assigned by Order of the Government to a Voyage of Discovery. Translated from the French by Christine Cornell. The Baudin expedition, including nine zoologists and botanists and a geographer, was sent to map the coast of New Holland. Departing Le Havre in October 1800 the expedition sailed via the Cape of Good Hope and Mauritius to Timor, eventually sailing down the west coast of New Holland and across to Van Diemen's Land reaching it in January 1802. After sailing to Port Jackson, they returned via the west coast and Timor to Mauritius where Baudin died of tuberculosis in September 1803. They had mapped much of the west, north and south coasts of New Holland, meeting Flinders in April 1802 at Encounter Bay.

Publishing details: Adelaide: Libraries Board of South Australia, 1974.
First Edition.
30cm x 23cm. xx, 609 pages, black and white illustration, maps. Green cloth, gilt lettering.

Ref: 1000
Ancher Mortlock Murray Woolleyview full entry
Reference: Ancher, Mortlock, Murray, Woolley; Sydney Architects, 1946-1976.

Catherine Burke, David Saunders. Lauded by Robyn Boyd in his 1952 book ‘Australia’s Home’ for his houses, Sydney Ancher set up his architecture practice in 1946. With Mortlock, Murray and Woolley the firm went on to design many public and private buildings including the Student Union Building at the Australian National University, the RAIA headquarters in Canberra, the Mechanical Engineering Building and Fisher Library at Sydney University and Town Hall House in Central Sydney. Ancher died in 1979. Murray had left the firm in 1975 and in 2013 it merged with the Brisbane firm Conrad Gargett Riddell.
Publishing details: Sydney: Power Institute of Fine Arts, University of Sydney, 1976.
First Edition.

24.5cm x 17.5cm. 60 pages, black and white illustrations. Illustrated wrappers.


Ref: 1000
Larter Richardview full entry
Reference: Richard Larter: A Survey 1985
Catalogue of an exhibition at the University Art Museum, Brisbane, 14 March – 29 April 1985, and later in Wollongong, Melbourne, Canberra, Armidale, and Orange.

Publishing details: Brisbane: University Art Museum, University of Queensland, 1985.
First Edition. 8 pages, illustrations, some coloured. Illustrated saddle-stapled self-wrappers.

Ref: 45
Powditch Peterview full entry
Reference: Peter Powditch. Catalogue of an exhibition at Niagara Gallery, 27 February – 16 March [1987].
Publishing details: Melbourne: Niagara, 1987.18 pages, colour illustrations. Lettered saddle-stapled wrappers.
Ref: 1000
Zootiopiaview full entry
Reference: Zootopia: Posters from the Urban Jungle
Beth Jackson, Craig Douglas
Catalogue of an exhibition at Dell Gallery, Queensland College of Art, Griffith University 2 April – 22 May 2005.
Publishing details: Brisbane: State Library of Queensland and Griffith University, 2005. 32 pages, colour illustrations. Illustrated saddle-stapled wrappers.

Ref: 1000
postersview full entry
Reference: Zootopia: Posters from the Urban Jungle
Beth Jackson, Craig Douglas
Catalogue of an exhibition at Dell Gallery, Queensland College of Art, Griffith University 2 April – 22 May 2005.
Publishing details: Brisbane: State Library of Queensland and Griffith University, 2005. 32 pages, colour illustrations. Illustrated saddle-stapled wrappers.

Moore Maryview full entry
Reference: Self-Portrait: Mary Moore. Catalogue of an exhibition 2 June – 14 July 1991.

Publishing details: Perth: Lawrence Wilson Art Gallery, University of Western Australia, 1991. 16 pages, illustrations, some colour. Illustrated saddle-stapled wrappers.

Ref: 146
Ely Bonitaview full entry
Reference: Dogwoman Makes History
Publishing details: First Draft gallery, 1986, 8pp
Ref: 1000
Preston Robertview full entry
Reference: Robert Preston Survey Exhibition: a Selection of Work from 1966 – 89
Anneke Silver, Robert Preston, Ross Searle\
Catalogue of an exhibition 27 July – 25 August 1989.
Publishing details: Townsville: Perc Tucker Regional Gallery, 1989. 32 pages, illustrations, some colour. Illustrated saddle-stapled wrappers.

Ref: 1000
Arrowsmith Vedaview full entry
Reference: Cosmic Journey
Publishing details: Gold Coast City Art Gallery, 1990, 20pp
Ref: 1000
Roar Studiuosview full entry
Reference: Roar Studios - Touring Exhibition
Publishing details: Shepparton Art Gallery, 1992, 52pp
Ref: 1000
Malkaview full entry
Reference: Malka: Contemporary Works by Selected Aboriginal Artists from Kaiela/Dungala Country, by Kirsten Paisley
Artists include Jack Anselmi, Clive Atkinson, Kevin Atkinson, Roland Atkinson, Don Briggs, Eric Brown, Hartley Briggs, Sonny Cooper, Vera Cooper, Skye Crowe, Treahna Hamm, Lyn Thorpe and Irene Thomas.

Publishing details: Shepparton: Shepparton Art Museum, 2012. 42 pages, illustrations, some colour. Pictorial wrappers.

Ref: 1000
Money Jamesview full entry
Reference: Money - An essay on Practise and Process; 2 volumes, Selected paintings 2007-2014 and Selected Drawinfgs circa 2009-2014
Publishing details: the artist, (2014) 16pp
Pericles Leonview full entry
Reference: Congregated Images.
Publishing details: Perth Pen & Paint, 1992, 26pp
Ref: 1000
Frazer Davidview full entry
Reference: Wood Engravings David Frazer
.
Publishing details: Castlemaine : Unstable Press, 2016, 16pp
Ref: 1000
Pugh Clifton view full entry
Reference: Recent Paintings
Publishing details: Crane Kalman Gallery, 1976, 8pp
Ref: 1000
Rankin Davidview full entry
Reference: The Jerusalem Paintings
Publishing details: Ruggiero, 1989, 8pp
Ref: 1000
Preston Robertview full entry
Reference: Between the Tides
Publishing details: Townsville: Perc Tucker Regional Gallery, 1992, 43pp
Ref: 1000
Sufferenceview full entry
Reference: Sufferance: Women’s Artists’ Books, by acqueline Armistead
An exhibition celebrating the centenary of female suffrage in Queensland and the fortieth anniversary of Indigenous suffrage, held at CQ Gallery, Brisbane, 1 September – 8 October 2005. Artists Judy Watson, Debra Porch, Mel Robson, Barbara Heath, Mona Ryder, Kate Dickson, Nicole Voevodin-Cash, Judith Kentish, and Leah King-Smith.


Publishing details: Brisbane: State Library of Queensland, 2005.
24 pages, illustrations, some colour. Pictorial saddle-stapled wrappers.

Ref: 1000
Campbell Cressidaview full entry
Reference: Cressida Campbell: 9 July to 3 August, 2013. Exhibition catalogue.

Publishing details: Brisbane: Philip Bacon Galleries, 2013. [24] pages, colour illustrations. Illustrated saddle-stapled wrappers.

Ref: 1000
Allen Mary Cecil p15-16view full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Atyeo Sam 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Bayliss Clifford 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Bell George 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Bergner Yosl 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Blackman Charles numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Bonython Galleries numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Boyd Arthur numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Boyd David numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Boyd Hermia 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Boyd Jamie 7 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Boyd Lucy 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Brodzky Horace 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Buckmaster Ernest 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Bush Charles numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Tjpaltjarra Clifford Possom numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Possom Clifford Tjpaltjarra numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Coleman family numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Counihan Noel 5 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Daws Lawrence 6 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Cook William Delafield 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
de Maistre Roy 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Dobell William 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Driden David 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Drirysdale Russell 9 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Dyring Moya 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
French Leonard 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Friend Donald 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Gleghorn Thomas 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Haefliger Paul 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Hall Bernard 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Harris Rolf 6 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Henson Bill 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Herbert Harold 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Hester Joy 8 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Hodgkinson Frank numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
James Louis numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Lempriere Helen 8 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Jessop Clytie 6 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Johnson Michael 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Johnson Tim 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Jones Paul 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Kaiser Peter 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Lawler Adrian 5 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Lindsay Daryl 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Lymburner Francis numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Lynn Elwyn 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Maguire Tim 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
McGillick Tony 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
McInnes W B 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Missingham Hal 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Nolan Sidney numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Nolan family numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
O’Connor Vic 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Olley Margaret 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Paterson Elizabeth Craigie formally Nolan numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Perceval family numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Perceval John 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Perceval John 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Poignant Alex 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Proctor Thea 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Pugh Clifton 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Purves Smith Peter 1 refview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Read Athur Evan numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Reed John and Sunday numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Heide numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Reinhard Ken 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Richmond Oliffe numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Robertson-Swann Ron 4 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Sainthill Loudon 6 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Sharp Martin 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Smith Gray 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Streeton Arthur 3 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Tillers Imants 5 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Treweeke Vernon 5 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Tucker Albert numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Upward Peter 5 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Power John Wardell 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Waterhouse Phyllis numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Watson Douglas 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Wheeler Charles 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Whiteley Brett numerous refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Whiting Lorraine (Lorrie) refs p 236-7view full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Williams Fred 6 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Zahalka Anne 2 refsview full entry
Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and 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
Doyle Andrewview full entry
Reference: Informatiuon provided to Stephen Schediing by a descendent of Andrew Doyle: Andrew Doyle: ‘He arrived in Sydney with his wife and 3 children in l803. He and his brother
were convicted for life, although in fact they were Rebels from the l795 Irish uprising.’
Sutton Barbara 1925 - 2012view full entry
Reference: see eBay listing, 9 Dec., 2022: Watercolour Painting by, Australian Artist BARBARA F. SUTTON, (1925 - 2012), signed lower right, and was painted around 1985, 14 inch by 10 1/2 inch, (35.6cm x 26.7cm). (Image size), titled, "VENICE BOATS" in Italy, where the Artist was travelling around this time.
SUTTON, Barbara Frances, (1925-2012). Aged 86 years. Self Taught Artist, using watercolour. Former student, and later Headmistress at Camberwell Girls Grammar School, from 1973 – 1988. After retiring, she travelled to England, Europe, and the UK, and Painting her travels. Her art is represented in many Private Collections around Australia, and overseas.
Blakebrough Les 1930-2022view full entry
Reference: see obituary by Andrew Darby in Sydney Morning Herald, 13.12.22. p 30
Publishing details: [copy inserted in
Kolhagen Lisette see Kohlhagen Lisetteview full entry
Reference:
L'Estrange Robert Augustus Henry photographerview full entry
Reference: see The Book Merchent Jenkins catalogue 14.12.22: Robert Augustus Henry L'Estrange
[Queensland]: No publisher, No date.
.
12cm x 15.5cm. Albumen photograph mounted on paper.
Very early 20th century photograph of Brisbane's Customs House by Queensland resident, world traveller, and keen amateur photographer, Robert Augustus Henry L'Estrange (1858-1941).
AUSTRALIA IN OLD MAPS, 820-1770: THE NORTHERN APPROACHESview full entry
Reference: AUSTRALIA IN OLD MAPS, 820-1770: THE NORTHERN APPROACHES, by Eric B. Whitehouse

Publishing details: Brisbane: Boolarong Press, 1994.
First Edition.
30cm x 21cm. 96 pages, black and white illustrations, 10 in colour. Illustrated wrappers.
Ref: 1000
Mapsview full entry
Reference: see AUSTRALIA IN OLD MAPS, 820-1770: THE NORTHERN APPROACHES, by Eric B. Whitehouse

Publishing details: Brisbane: Boolarong Press, 1994.
First Edition.
30cm x 21cm. 96 pages, black and white illustrations, 10 in colour. Illustrated wrappers.
photography - panoramic photography in Australiaview full entry
Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB
photography - Contemporary Australian Photography view full entry
Reference: see Look: Contemporary Australian Photography Since 1980



Publishing details: 399 pages hardcover colour illustrations
pottery colonial view full entry
Reference: see Australian Antique Collector, No. 2, article
architecture - homes - design view full entry
Reference: see Brogan John R - 101 Australian Homes. Designs by John R Brogan. Illustrated throughout with plans.
Publishing details: Sydney: Building Publishing, ND circa 1950s. Soft covers, quarto. Very scarce.
architecture - homes view full entry
Reference: see Brogan John R - 101 Australian Homes. Designs by John R Brogan. Illustrated throughout with plans.
Publishing details: Sydney: Building Publishing, ND circa 1950s. Soft covers, quarto. Very scarce.
design architecture - homes view full entry
Reference: see Brogan John R - 101 Australian Homes. Designs by John R Brogan. Illustrated throughout with plans.
Publishing details: Sydney: Building Publishing, ND circa 1950s. Soft covers, quarto. Very scarce.
architecture in Western Australia essays onview full entry
Reference: see Essays on art and architecture in Western Australia, by David Bromfield.
Publishing details: Perth : University of Western Australia, 1988. Folio, illustrated wrappers, pp. 199, illustrated.

Conder Charlesview full entry
Reference: For sale on Wednesday 07 Dec., 2022,
Paris, France
Thierry de Maigret
lot 226
Charles Edouard CONDER (1868 - 1909)
Faune et nymphe
Oil on canvas. Signed on the back on the stretcher
117 x 73,5 cm
The work that we present for this sale is to be compared with the painting of Louis Anquetin (1861 -
1932) sold on November 28, 2008 by the Thierry de Maigret study, reproduced in the catalog page 62 under the number 144
Charles Conder met Louis Anquetin in 1890 at the Académie Jullian where they studied together with Henri de Toulouse Lautrec (1864 - 1901) who painted his portrait in 1892.
Est 5-600 euro SOLD 1300 euro
Archer Sydneyview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Annan Fabricsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Audette Yvonneview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
modernism : the complexity and the diversityview full entry
Reference: Australian modernism : the complexity and the diversity / by Helen Rayment ; text by Lauraine Diggins and Helen Rayment. Exhibition "Thursday 30th July-Friday 28th August, 1992." Bibliography: p. 51-52. Includes biographical information on the artists exhibited who are all well known.
Publishing details: North Caulfield, Vic. : Lauraine Diggins Fine Art Pty. Ltd., 1992 
52 p. : chiefly col. ill., ports.
goldfields artists Bendigo view full entry
Reference: see Australasian Antique Collector 40th edition, article by David Thomas
Publishing details: 1990
Goldfields - Art of the Mount Alexander view full entry
Reference: see "Art of the Mount Alexander Goldfields 1851-1872", Castlemaine Art Gallery, 28 March - 3 May 2009.
Publishing details: Castlemaine Art Gallery, 2009
goldfields - Stocqueler Edwin oil painting of goldfields with essay on artist, illustratedview full entry
Reference: see Gold - Hordern House catalogue - catalogue of 254 items relating to Australian Gold rushes. Not indexed by items in alphabetical order.
Publishing details: Hordern House, 1990, pb,
goldfields ewellery view full entry
Reference: see Jewels on Queen by Anne Schofield. Includes chapter on Australian jewellery. [’Ancient Roman engraved rings, eye miniature love tokens, an Art Deco aquamarine and diamond brooch ... Anne Schofield unlocks the cabinets in her exclusive Sydney antique jewellery shop in Queen Street, Woollahra and reveals the favourite pieces of jewellery she has bought, sold and collected over 50 years. From world-famous designers to eccentric collectors, in this very personal book Australia's best-known antique jewellery expert shares the fascinating stories behind a stunning array of jewellery.’]
Publishing details: NewSouth Publishing, 2014 
hc, dw, 151 pages : colour illustrations ; 19 cm 
Goldfields - Artists of the Bendigo Goldfieldsview full entry
Reference: see Artists of the Bendigo Goldfields 1852 - 1864, by David Thomas, Bendigo Art Gallery catalogue.
Publishing details: 1989
Baldwinson Arthur architectview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Balson Ralph 6 refs and illusview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Bell Pamela 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Bell Pamela 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Collings Dahl architect 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Contemporary Art Society various refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Crowley Grace various refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Dadswell Lyndon 4 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Direction 1 - 4 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Dupain Max 4 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Farley and Lewers 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Fizelle Rah 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Gleeson James 7 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Haefliger Paul 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Haxton Elaine 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Hepworth Barbara 5 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Hessing Leonard 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Hinder Frank numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Hinder Margel numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Jaye Margaret interior decorator 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Grey Molly interior decorator 1 refview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
du Bourlay Merle interior decorator 1 refview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
King Inge 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Klippel Robert 5 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Kubbos Eva 5 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Lange Eleanora 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Laverty Peter 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Lewers Darani numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Lynne Elwyn numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
McGrath Eileen 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Meadmore Clement 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
New Directions 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Notanda and Gallery numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Olsen John 7 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Orban Desiderius numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Passmore John 7 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Penrith Regional Gallery numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Pinson Peter 7 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Plate Carl numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Plate Adolf 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Plate Elsie Gill Gilly 9 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Rapotec Stanislaus 5 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Reed John and Sunday various refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Rose William 5 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Dattilo Rubbo A 4 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Salkauskas Henry 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Seidler Harry 4 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Smith Eric 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Snelling Douglas 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Todd Dorothy 2 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Tuckson Tony 6 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Upward Peter 4 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Viera da Siulva Maria Helena - French 4 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Wakelin Roland 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Wheen Aldwyth and Arthur 4 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Zander Alleyne 3 refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
Lewers Gerald numerous refsview full entry
Reference: see Margo Lewers - No Limits, by 
T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn. With index.
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

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

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp
a Beckett family various refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Boyd family various refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Boyd Arthur Merric various refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Boyd Emma Minnie various refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Boyd Lucy 3 refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Boyd Martin various refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Boyd Robin various refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Boyd Merric various refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Chomley family various refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Fox Emanuel Phillips 2 refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Fox Ethel Carrick 2 refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Lambert George 3 refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
McCubbin Frederick 2 refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Smith Sydney Ure 2 refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Southern Clara 1 refview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Streeton Arthur 3 refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
von Guerard Eugene 3 refsview full entry
Reference: see Sunlight and Storm : the life and art of Penleigh Boyd. By Colin G. Smith. With index. [Artists with more than one reference in the index have been included in the Scheding Index. To be indexed fully?]
Sunlight and Storm : the life and art of Penleigh Boyd is the first book to be published on this important Australian landscape painter in almost a century. While Penleigh’s life ended tragically in a car accident in 1923, in his 33 years he painted extraordinary images of Victoria’s coastline, principally Port Phillip Bay, and of the hills and valleys to the east and north-east of Melbourne. He also painted Sydney Harbour and the Blue Mountains. His paintings of wattles in full bloom are unique, as is his representation of eucalypt trees. Sunlight and Storm The Life and Art of Penleigh Boyd includes over one hundred full-colour reproductions of Penleigh’s art as well as works by his parents Emma Minnie and Arthur Merric Boyd, and his wife Edith Boyd. Better known as a model for E. Phillips Fox, Edith’s art has never been reproduced before. The book includes a highly pictorial record of Penleigh’s life and a reproduction of his extraordinary book Salvage, a record of his experiences at the Western Front during WW1. It also includes reproductions of his letters and of publications he either illustrated or that were written about him, and much more. Sunlight and Storm The Life and Art of Penleigh Boyd is Colin Smith’s third book about the Boyd family. Complimenting Merric Boyd and Murrumbeena and Lucy Boyd Beck Life and Art, his new book provides readers with new insights into the Boyd family and their remarkable artistic achievements.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 466, illustrated.
Knox Alexanderview full entry
Reference: ‘Alexander Knox is an award-winning Australian artist, widely known for producing large-scale façade artworks and kinetic sculptures. His practice draws upon influences from nature, history, and the contemporary world, with impressive installations adorning multiple cities throughout Australia. He holds a Graduate Diploma of Fine Art (Public Art) from RMIT, and was awarded the Melbourne Prize for Urban Sculpture in 2008 and the Helen Lempriere Sculpture Award in 2006.’
Publishing details: https://www.uapcompany.com/about/creatives/alexander-knox
Bradbeer Godwinview full entry
Reference: see Lowensteins ‘Tax Matters for the Arts’ December 2022, festive issue:
‘Godwin Bradbeer’s human forms are both contemporary and ancient, the faces and limbs suggesting the body in and through time, not specific to a location or an epoch but full of echoes that conjure up millennia of art.
Looking at his powerful and densely dark drawings, which are often life-sized or larger, there is a sense of alchemy in the mediums of chinagraph, silver oxide, charcoal and pastel, as if a human had been turned into stone and then back again into a super-charged creature, catching the light as a statue would, a gleaming statue from Classical Greece or ancient India.

Bradbeer would agree with my description but cringe at any hint of hyperbole. A recent feature on him in the American fashion magazine Harper’s Bazaar was, he says, embarrassing and “laid it on a bit thick.”

He is, he explains, inspired by the phenomena of survival, of endurance, strength and fragility inherent in ancient art and he strives for that in his work. 

“My work is a meditation on the phenomenon of our existence…I have trained myself in the non-specific; my figures aren’t portraits, they’re about the universal…and they are also a bit androgynous,” he says, adding, in an allusion to Classical sculpture; “the face of Venus is the same as that of Apollo.”

As a boy he was captivated by the sketches of old masters such as Leonardo da Vinci and Rembrandt. He was attracted to drawing because of its honesty, he says. “The painter can conceal error; in drawing you see the naked struggle; there’s an absolute exposure that I like.”

He says that the monumental size of his works is partly a riposte to the dominance of Abstract Impressionism prevalent in his youth.

“I saw Rothko, de Kooning, Pollock and their work knocked me out. I didn’t like it but I was affected by their arrogant presence…I had a mild inferiority complex and my work had to compensate for what I lacked.”

Bradbeer, 72, was born in Dunedin, New Zealand, spent the first few years of his life in Glasgow and then moved with his family to Melbourne where he has lived ever since. He’s taught at all the city’s art schools, and before leaving full-time teaching in 2010, was head of drawing in the art school at RMIT.

The last twelve years, where he has been able to dedicate himself to his practice, have been the most creative time of his life since his twenties.

“My twenties were about surges and this has been a good ten years of surge,” he says.

Not that all the surges have been in visual art. He published a collection of poetry, bought himself a grand piano – “that was another surge” – and accepted an invitation to sing in a friend’s band. He has also been penning lyrics and his children bought him a session at a recording studio for his 69th birthday where he recorded a CD of ten songs.

He says that getting older has taught him important lessons on keeping your mind open and seizing the moment; “When your sixties come, safeguard important things including your family but don’t ignore opportunities. If a door appears, go through it.”
 
Benson N Gview full entry
Reference: a pointillist painting by N. G. Benson of Lavender Bay Flats (Sydney), oil on masonite, 25 x 31cm,
inscribed verso "N G Benson/Lavender Bay Flats/14gns", in its original frame, is in the collection of Stephen scheding as at 2022.
Roberts Lukeview full entry
Reference: Luke Roberts. The catalogue essay was originally published for ARCO '96, Madrid.
Publishing details: Brisbane: Institute of Modern Art, 1996.
First Edition.
14.5cm x 10.5cm. 32 pages, black and white illustrations. Pictorial saddle- stapled wrappers.
Ref: 1000
METONYMY IN CONTEMPORARY ARTview full entry
Reference: METONYMY IN CONTEMPORARY ART: A NEW PARADIGM
Denise Green

Publishing details: Melbourne: Macmillan Art Publising, 2005.
First Australian Edition.
23.5cm x 20cm. 136 pages, colour illustrations. Black cloth, silver lettering and decoration.
Ref: 1000
CONTEMPORARY ARTview full entry
Reference: see METONYMY IN CONTEMPORARY ART: A NEW PARADIGM. ByDenise Green

Publishing details: Melbourne: Macmillan Art Publising, 2005.
First Australian Edition.
23.5cm x 20cm. 136 pages, colour illustrations. Black cloth, silver lettering and decoration.
Barberis Ireneview full entry
Reference: THE MIDDAY CLOCK: SELECTED POEMS AND DRAWINGS, by R. A. Simpson
"Based on the Book of Revelation, it traces a 4-year project by Melbourne based artist Irene Barberis. She studied ancient Apocalypses in famous manuscript collections in London and Paris, and then created her own contemporary versions using abstract and figurative images and new materials and techniques." (publisher's blurb)
Publishing details: Melbourne: The Age and Macmillan Publishers Australia, 1999.
First Edition.
19.5cm x 14.5cm. [xx], 121 pages, black and white illustrations. Blue cloth, red and white lettering, illustrated jacket.
Ref: 1000
Nona Dennisview full entry
Reference: Entre ciel, terre et mer oi le mythe revisite / Between sky, land and sea. Legends revisited: Torres Strait Islands, Australia. Recent Works: Prints & Sculptures - Dennis Nona
atalogue for an exhibition of 50 works by Nona exhibited at the Australian Embassy in Paris.
Publishing details: Darlinghurst: The Australian Art Print Network, 2011.
First Edition.
21cm x 21cm. 130 pages, colour illustrations. Illustrated wrappers. Text is bilingual in French and English.
C
This Placeview full entry
Reference: This Place, by Antonia Pesenti. This place was made for you. Come and explore the Art Gallery of New South Wales. Discover its amazing location, the buildings, the architects and the art. A journey for the creative and curious of all ages.
This unique picture book by award-winning illustrator and book creator, Antonia Pesenti, is an imaginative work looking at the creative journey between the Art Gallery and the Japanese architects Kazuyo Sejima and Ryue Nishizawa from SANAA to create a new museum in Sydney.
This place is about a sense of place, discovery, art and architecture. This place explores the magic of the Art Gallery’s location on Gadigal land in the city of Sydney alongside gardens and the harbour.
Commissioned and published by the Art Gallery of New South Wales to mark the opening of the Sydney Modern Project.

Publishing details: AGNSW, 2022. Hardback
32 pages
Ref: 1000
Pesenti Antonia view full entry
Reference: see This Place, by Antonia Pesenti. This place was made for you. Come and explore the Art Gallery of New South Wales. Discover its amazing location, the buildings, the architects and the art. A journey for the creative and curious of all ages.
This unique picture book by award-winning illustrator and book creator, Antonia Pesenti, is an imaginative work looking at the creative journey between the Art Gallery and the Japanese architects Kazuyo Sejima and Ryue Nishizawa from SANAA to create a new museum in Sydney.
This place is about a sense of place, discovery, art and architecture. This place explores the magic of the Art Gallery’s location on Gadigal land in the city of Sydney alongside gardens and the harbour.
Commissioned and published by the Art Gallery of New South Wales to mark the opening of the Sydney Modern Project.

Publishing details: AGNSW, 2022. Hardback
32 pages
Herring Ralphview full entry
Reference: see Keys Fine art Auction, UK, 5.1.23, lot 192: Ralph Herring (Australian, 20th century) 'Barges, River Orwell', oil on board, signed, 13x17ins, framed.
Elliot Robert James 1801-1875view full entry
Reference: see Bearnes Hampton & Littlewood auction, UK, 17-18 January, 2023, lot 888: Commander Robert James Elliot R.N. (British, 1801-1875) Lima, Peru inscribed and dated August 1821 lower left and signed on the mount pencil drawing 15.5 x 23cm, unframed Other, similar drawings of Captain Elliot’s voyages around the world have occasionally appeared at auction, including one of the Tomb of Sultan Hamomed, Bejapore at Hotel de Ventes, Genève (26 September 2012, lot 1489). An album of his views of Australia is in the collection of the British Museum, London
Smith Miss Bernhardview full entry
Reference: see Leader (Melbourne, Vic. : 1862 - 1918, 1935) Sat 9 March, 1895, Page 29 [uncorrected text from Trove]:
Miss M. Bernhard Smith held an inaugural
reception last week, at her rooms, 14 “The Block," Collins-streot, where Mr J. A. Panton, P.M., said n few words in commendation of Miss Smith's undertaking, and when a largo number of ladies and gentlemen assembled to wish her success Miss Bernhard Smith is the daughter of one of the early gold wardens, who was afterwards a police magistrate, one of tho more artistic and oultured of men and
a valued friend of Woolner, the sculptor. She inherits hoer father's ability, and has for some vears devoted herself to the study of the artistic design and execution of all branches of ladies’ and children's wearing apparel. Now she is prepared to undsrtake this work on a larger scale, and for this purpose has scoured most conveniontly situated rooms, where she held her
reception. Miss F. C. Williams and Mrs. Syd
ney Dixon kindly suppiiod delicious tea and
cakes on the occasion. Miss Bernhard Smith is being introduced by Lady Williams, Mrs. H.
M. Ohomley, Mrs. Albert Miller, Mrs. Sylvester
Brown, Mrs. Albert Austin, Mrs. Herbert
Powor, Mrs. D. K. Stodart, Mrs. Rupert Clarke,
Mrs. ICenric Brodribb, Mrs. T. Prioe, Mrs. N.
Maine, Mrs. H. Anthony, Miss Ethel Fitzgerald,
Miss A. Miliear.

Victorian Sketching Club view full entry
Reference: see Leader (Melbourne, Vic. : 1862 - 1918, 1935) Sat 9 March, 1895, Page 29 [uncorrected text from Trove]:
The following members of the Victorian
Sketching Club attended the trip to Brighton
Beach on Saturday, 2nd March Msxdatnes
H. J. Vinnicombi and J. Gordon, Misses H.
Cunnlngton, E. Bart, Bertha Groenlng, Mnry
Callanan, L. A. Begg, 0. M. Strange, M.
Sullivan, A. L. Lang, May Lovcday, E. 13.
Weir, Messrs. C. G. Robertson, Vlotor Hsory,
R. Mayston, J, G. Whito and Hcrbort Wood-
houBe, hon. secretary. Brighton is the club's
outiug for Saturday, 9th, and Toronga for the
16th. This last named locality being in placo
of Brighton ai set down in the list of fixtures.
The club's conversazione and exhibit of sketches
on. the 28th of thia month will take plaoe at BI. Bibron's Salon, Collins Streeet.



SOCIAL ITEMS.
Springs Alice aka June Newtonview full entry
Reference: June Newton was the wife of and collaborator with Helmut Newton and at one point used the name Alice Springs (to be checked).
Michoutouchkine Nicolai (1929 – 2010) view full entry
Reference: The Russian from Belfort: 37 Years Journey by Painter Nicolai Michoutouchkine in Oceania, by Marie Claude Teissier-Landgraf, Nicolai Michoutouchkine. Nicolai Michoutouchkine (1929 – 2010) was a French artist, who spent much of his life in the Pacific where he collected native art and craft. He later arranged hundreds of exhibitions of his collection around the world. This copy inscribed by the artist in 1998 to art curator Ross Searle. In green pen he has amended the number of the title on the wrappers to 41 years journey by painter Nicolai Michoutouchkine in Oceania.
Publishing details: Vanuatu: Institute of Pacific Studies; Michoutouchkine-Pilioko Foundation; USP Complex; South Pacific Creative Arts Society, 1995. viii, 105 pages, black and white illustrations, map. Illustrated wrappers.

Ref: 1000
Peebles Graemeview full entry
Reference: Out of the Shadows: The Mezzotints of Graeme Peebles, by Gordon Craig, Graeme Peebles

Publishing details: Brisbane: QUT Art Museum, 2004. 16 pages, black and white illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000
Pam Maxview full entry
Reference: Going east.
[dédicacée et signée par Max Pam en page de faux-titre et agrémentée de son adresse en Australie, écrite de la main du photographe en dernière page. 184 pages. Reliure en tissu brun avec titre en noir sous jaquette illustrée.]
Publishing details: Éditions Marval, Paris, 1992.
In-4 (32 x 25 cm). Édition originale bilingue français-anglais,
Ref: 1000
Yeoman Antonia Beryl Botterill (Known as 'ANTON') 120 lotsview full entry
Reference: see TW Gaze auction, UK, 17.1.23, lots 8001-8116
ANTONIA BERYL BOTTERILL YEOMAN (Known as 'ANTON') (Australian/British 1907-1970) A framed and glazed pencil and watercolour, Lovers at a Piano. Signed bottom right 'Botterill', Image size 28cm x 21cm
and
ANTONIA BERYL BOTTERILL YEOMAN (Known as 'ANTON') (Australian/British 1907-1970) A framed and glazed pencil and watercolour, Lovers amongst Palm Trees. Signed bottom right 'Botterill'. Image size 28cm x 20cm
and aboutv 120 lots altogether including some lots with mukltiple exalmpes of illustrationa and cartoons.

Anton aka Antonia Beryl Botterill Yeoman (Known as 'ANTON') 120 lotsview full entry
Reference: see TW Gaze auction, UK, 17.1.23, lots 8001-8116
ANTONIA BERYL BOTTERILL YEOMAN (Known as 'ANTON') (Australian/British 1907-1970) A framed and glazed pencil and watercolour, Lovers at a Piano. Signed bottom right 'Botterill', Image size 28cm x 21cm
and
ANTONIA BERYL BOTTERILL YEOMAN (Known as 'ANTON') (Australian/British 1907-1970) A framed and glazed pencil and watercolour, Lovers amongst Palm Trees. Signed bottom right 'Botterill'. Image size 28cm x 20cm
and aboutv 120 lots altogether including some lots with mukltiple exalmpes of illustrationa and cartoons.

Botterill - Antonia Beryl Botterill Yeoman signs as Botterill (aka 'ANTON') 120 lotsview full entry
Reference: see TW Gaze auction, UK, 17.1.23, lots 8001-8116
ANTONIA BERYL BOTTERILL YEOMAN (Known as 'ANTON') (Australian/British 1907-1970) A framed and glazed pencil and watercolour, Lovers at a Piano. Signed bottom right 'Botterill', Image size 28cm x 21cm
and
ANTONIA BERYL BOTTERILL YEOMAN (Known as 'ANTON') (Australian/British 1907-1970) A framed and glazed pencil and watercolour, Lovers amongst Palm Trees. Signed bottom right 'Botterill'. Image size 28cm x 20cm
and aboutv 120 lots altogether including some lots with mukltiple exalmpes of illustrationa and cartoons.

Speers Veeview full entry
Reference: see Chiswick auctions, UK, 18.1.23. lots 399-401
VEE SPEERS (AUSTRALIAN, B. 1962)
Untitled, from the Bordello series (no. 35)
Fresson print, signed and editioned by the photographer 3/20 to bottom margin, dated 2005, image size 54 x 35.5cm, sheet size 64 x 43.5cm
VEE SPEERS (AUSTRALIAN, B. 1962)
Untitled, from the Bordello series (no. 35)
Fresson print, signed and editioned by the photographer 1/10 on the verso, dated 2001, full bleed, image size 43 x 32.2cm.
VEE SPEERS (AUSTRALIAN, B. 1962)
Untitled, from the Bordello series (no. 19)
Fresson print, signed and editioned by the photographer 1/10 on the verso, dated 2001, full bleed, image size 38.5 x 29.8cm.
se Salis William Faneview full entry
Reference: Reminiscences of travel in China and India in 1848 / by William Fane De Salis. [From Forum austion catalogue UK, 26.1.23: The lithographs, after his own sketches, include views of Hong Kong, Singapore, Mount Ophir, Cochin, Mocha, Coast of Nubia, Mount Zapharan, Alexandria, Malta, Algiers and Gibraltar.

Loosely inserted are a 12pp. pamphlet in original wrappers entitled "Introductory Remarks to a Residence in Australia and to Travels in China and India; and a 1p autograph letter from a later De Salis family member.]

Publishing details: London : Waterlow, 1892, 50 illustrations
Ref: 1000
Conrad Christinaview full entry
Reference: see artist’s website https://www.conradxposure.com
Bock Thomas photograph afterview full entry
Reference: see Smalls auction, Sydney, 15.1.23, lot 47:
10 photographs of Aborigines including Sepia Photograph of an 1830s Thomas Bock Watercolour of a Tasmanian Aborigine. Titled "Truggerana" in gall ink on reverse
Dimensions:
28 x 22.2 cm
Exhibited:
919
Literature:
Decorative Art
Medium:
Ethnographic & Indigenous Artifacts
Circa:
Australiana
Notes:
This is one of a series of ten 19th Century photographs in our Sale of the last full-blooded Tasmanian Aborigines which are believed to be in a unique format. The original photographer of the images has yet to be determined despite both the Mitchell Library in Sydney and the Australian National Library attributing the photographs to John Watt Beattie (1859 -1930) who published a version of the photographs in his c.1890 book ‘Aborigines of Tasmania.’ The National Library describes Beattie’s work as a compilation of "photographs of drawings by Thomas Bock, and 17 portraits taken from life in 1866'. All are embossed: J.W. Beattie, photographer, Hobart.” However, Beattie is unlikely to have been the original photographer of Bock’s images for a few reasons: Firstly, Beattie did not acknowledge any of the original photographers whose work he had appropriated for his book which includes the famous image of the ‘last’ full-blooded male Tasmanian Aboriginal, William Lanne by Charles Alfred Woolley (1834 - 1922). Beattie appears to have been awarded authorship of the photographs solely because he was the first to publish these previously unknown images of Bock’s work. However, the sepia photographs in our Sale which are printed on matt paper measuring 28 x 22.2 cm are starkly different from the Bock images in Beattie’s book which are appreciably larger i.e., 44.8 x 42.2 cm and are printed on glossy paper with much less details due to their overexposure. It becomes obvious that Beattie’s photographs are a later generation i.e., photos of photos and it raises the question as to why he would use lesser quality images in his publication if he were the creator and had access to the original glass negatives. Beattie obviously wanted his studio stamp to appear on all the photos included in his book but if he controlled the glass negatives around 1890 then surely have used them instead of having to resort to rephotographing existing images. Secondly, in describing the Bock images as “photographs of drawings” the National Library took its lead from Beattie who in his hand-written index of ‘Aborigines of Australia,’ described them as “sketches taken from life” and "in possession of the Royal Society of Tasmania." But if Beattie had photographed the source images firsthand, he would have known that they were not in fact of drawings or sketches by the convict artist Thomas Bock but were part of a set of watercolours that the artist had sold to the Baptist Minister Henry Dowling (1780-1869). That Beattie knew of the Dowling images but was unaware of the media used to produce them should certainly rule him out as the original photographer. In the early 1830s Thomas Bock received a commission from George Robinson ‘the protector of Aborigines’ to paint a rolling set of portraits of the last remaining full-blood Tasmanian natives before they were shipped off to Flinders Island ostensibly for their own survival. Bock, looking for more reward for his artistry, produced at least two other sets of the watercolours, one being for Lady Fitzroy, the Governor’s wife, and another for the influential Baptist Minister the Reverend Henry Dowling (1780-1869) whose set was acquired by the Royal Society sometime after his death. Each set was hand-painted years apart and so the watercolours are unique in their fine detail, and it is the Dowling watercolours that are an exact match to the sepia photographs. So, it raises the question of when were the original photographs taken and by whom? An examination of the sepia images conducted at the Mitchell Library in Sydney revealed the watermark of Steinbach on at least two of the photographs. This Belgian Company was a paper manufacturer from the late 1700s but only began producing photographic paper from 1885. There is also a pencil notation on the back of one image reading R.16 Sep.1/90 which would suggest that the sepia prints were produced in the period 1885 to 1890, although the original glass negatives are likely to predate this timeframe.There seems little doubt that Beattie had access to a set of the sepia images around 1890 that he rephotographed for his book, and so it cannot be ruled out that he may have also been responsible for producing the photographs if he was in possession of the glass negatives from the original photographer. If so, the negatives appear to have been used sparingly as to date no similar images are known to have surfaced in this particular format which would have been unusual for the commercially minded Beattie. During the 1890s Beattie, through his photographic studio in Hobart, marketed the work of two photographers who were active from the 1850s and both must be strong contenders as being the originator of the images. The first photographer was the first Anglican Bishop of Tasmania Francis Russell Nixon (1803-1879) who had enthusiastically taken up the new art of photography. Beattie was in possession of Nixon’s glass negatives and from the 1890s he printed large quantities of his photographs for sale. So, were the plates that produced the sepia photographs part of this hoard which is now believed ‘lost’? The second contender was the established photographer Charles Alfred Woolley (1834-1922) whose photographs of full-blood Aborigines taken in the 1860s were also marketed by Beattie from his studio in the 1890s. A number of Wooley’s well-known photos appear unattributed alongside the sepia images in Beattie’s ‘Aborigines of Tasmania’ as do those of Bishop Nixon. So, did Beattie also control Woolley’s negatives at this time, or did he resort to rephotographing existing photo stock? But how would Nixon or Woolley have had access to the Reverend Dowling’s watercolours to photograph? Bishop Nixon arrived in Tasmania in 1843 to take up his post as its first Anglican Bishop and while establishing his credentials he would likely have attended ecumenical meetings where he could have crossed paths with the influential Baptist the Reverend Henry Dowling. As a budding photographer he would have found Dowling’s watercolours a desirable subject and could have asked to photograph the paintings. Charles Woolley has an even more direct connection to the Reverend Dowling having photographed him in his studio in Hobart sometime between 1860 and 1869. Interestingly, Woolley, also photographed Bishop Nixon and a copy of the photo resides in the University of Tasmania Library Special and Rare Materials Collection. This demonstrates a loose connection between the three men with Woolley at the centre. So, was it Woolley who took the images in the 1860s when he was in direct personal contact with Dowling or later after 1885 when the watercolours were in the possession of the Royal Society? But if Wooley was the original photographer, then why did it take until after 1885 for the glass negatives to be used to make copies unless they were resurrected by Beattie? Another intriguing aspect of this puzzle is why the ten images in our Sale were found in London in the early 2000s. But again, there appears to be a credible explanation. Beattie was in correspondence with the author H. Ling Roth who in 1890 published his aptly named scholarly work ‘Aborigines of Tasmania’ This soon came to be viewed as the authoritative work on Tasmanian Aborigines even though Roth had never actually set foot in Tasmania. Roth relied on the torrent of detailed information provided to him by Beattie who could also have forwarded Roth the set of sepia images to be included in his book. The sepia images in our Sale have titles penned on the back in gall ink that largely coincide with the numbered titles of Beattie’s photographs in the hand-written index of ‘Aborigines of Australia,’ although images 5 and 12 are reversed on our images. Were they Beattie’s control copies taken from the original negative plates for which he had no further use? An expert comparison of the titles with Beattie’s handwriting could confirm this. If Beattie did send the images to Roth, they were not used in his book directly. Perhaps he thought it would prove too costly an exercise with an initial print run of just 150 copies, but he did include three sketches of Bock’s Aborigines executed by his daughter of which two are rough copies of the sepia images in our sale. Where else would Roth have had access to the largely unknown images of Bock’s watercolours if they were not sourced from Beattie? Although it may prove impossible to fully establish the authorship of the sepia photographs, they remain without doubt top-tier museum standard examples of Australiana that captured the forlorn destiny afforded Tasmania’s last full-blood Aborigines. The Sale also includes some rare First Edition books, modern Australian coins issues and a selection of fine jewellery to whet your appetite.

Beattie J W photograph after Thomas Bockview full entry
Reference: see Smalls auction, Sydney, 15.1.23, lot 47:
10 photographs of Aborigines including Sepia Photograph of an 1830s Thomas Bock Watercolour of a Tasmanian Aborigine. Titled "Truggerana" in gall ink on reverse
Dimensions:
28 x 22.2 cm
Exhibited:
919
Literature:
Decorative Art
Medium:
Ethnographic & Indigenous Artifacts
Circa:
Australiana
Notes:
This is one of a series of ten 19th Century photographs in our Sale of the last full-blooded Tasmanian Aborigines which are believed to be in a unique format. The original photographer of the images has yet to be determined despite both the Mitchell Library in Sydney and the Australian National Library attributing the photographs to John Watt Beattie (1859 -1930) who published a version of the photographs in his c.1890 book ‘Aborigines of Tasmania.’ The National Library describes Beattie’s work as a compilation of "photographs of drawings by Thomas Bock, and 17 portraits taken from life in 1866'. All are embossed: J.W. Beattie, photographer, Hobart.” However, Beattie is unlikely to have been the original photographer of Bock’s images for a few reasons: Firstly, Beattie did not acknowledge any of the original photographers whose work he had appropriated for his book which includes the famous image of the ‘last’ full-blooded male Tasmanian Aboriginal, William Lanne by Charles Alfred Woolley (1834 - 1922). Beattie appears to have been awarded authorship of the photographs solely because he was the first to publish these previously unknown images of Bock’s work. However, the sepia photographs in our Sale which are printed on matt paper measuring 28 x 22.2 cm are starkly different from the Bock images in Beattie’s book which are appreciably larger i.e., 44.8 x 42.2 cm and are printed on glossy paper with much less details due to their overexposure. It becomes obvious that Beattie’s photographs are a later generation i.e., photos of photos and it raises the question as to why he would use lesser quality images in his publication if he were the creator and had access to the original glass negatives. Beattie obviously wanted his studio stamp to appear on all the photos included in his book but if he controlled the glass negatives around 1890 then surely have used them instead of having to resort to rephotographing existing images. Secondly, in describing the Bock images as “photographs of drawings” the National Library took its lead from Beattie who in his hand-written index of ‘Aborigines of Australia,’ described them as “sketches taken from life” and "in possession of the Royal Society of Tasmania." But if Beattie had photographed the source images firsthand, he would have known that they were not in fact of drawings or sketches by the convict artist Thomas Bock but were part of a set of watercolours that the artist had sold to the Baptist Minister Henry Dowling (1780-1869). That Beattie knew of the Dowling images but was unaware of the media used to produce them should certainly rule him out as the original photographer. In the early 1830s Thomas Bock received a commission from George Robinson ‘the protector of Aborigines’ to paint a rolling set of portraits of the last remaining full-blood Tasmanian natives before they were shipped off to Flinders Island ostensibly for their own survival. Bock, looking for more reward for his artistry, produced at least two other sets of the watercolours, one being for Lady Fitzroy, the Governor’s wife, and another for the influential Baptist Minister the Reverend Henry Dowling (1780-1869) whose set was acquired by the Royal Society sometime after his death. Each set was hand-painted years apart and so the watercolours are unique in their fine detail, and it is the Dowling watercolours that are an exact match to the sepia photographs. So, it raises the question of when were the original photographs taken and by whom? An examination of the sepia images conducted at the Mitchell Library in Sydney revealed the watermark of Steinbach on at least two of the photographs. This Belgian Company was a paper manufacturer from the late 1700s but only began producing photographic paper from 1885. There is also a pencil notation on the back of one image reading R.16 Sep.1/90 which would suggest that the sepia prints were produced in the period 1885 to 1890, although the original glass negatives are likely to predate this timeframe.There seems little doubt that Beattie had access to a set of the sepia images around 1890 that he rephotographed for his book, and so it cannot be ruled out that he may have also been responsible for producing the photographs if he was in possession of the glass negatives from the original photographer. If so, the negatives appear to have been used sparingly as to date no similar images are known to have surfaced in this particular format which would have been unusual for the commercially minded Beattie. During the 1890s Beattie, through his photographic studio in Hobart, marketed the work of two photographers who were active from the 1850s and both must be strong contenders as being the originator of the images. The first photographer was the first Anglican Bishop of Tasmania Francis Russell Nixon (1803-1879) who had enthusiastically taken up the new art of photography. Beattie was in possession of Nixon’s glass negatives and from the 1890s he printed large quantities of his photographs for sale. So, were the plates that produced the sepia photographs part of this hoard which is now believed ‘lost’? The second contender was the established photographer Charles Alfred Woolley (1834-1922) whose photographs of full-blood Aborigines taken in the 1860s were also marketed by Beattie from his studio in the 1890s. A number of Wooley’s well-known photos appear unattributed alongside the sepia images in Beattie’s ‘Aborigines of Tasmania’ as do those of Bishop Nixon. So, did Beattie also control Woolley’s negatives at this time, or did he resort to rephotographing existing photo stock? But how would Nixon or Woolley have had access to the Reverend Dowling’s watercolours to photograph? Bishop Nixon arrived in Tasmania in 1843 to take up his post as its first Anglican Bishop and while establishing his credentials he would likely have attended ecumenical meetings where he could have crossed paths with the influential Baptist the Reverend Henry Dowling. As a budding photographer he would have found Dowling’s watercolours a desirable subject and could have asked to photograph the paintings. Charles Woolley has an even more direct connection to the Reverend Dowling having photographed him in his studio in Hobart sometime between 1860 and 1869. Interestingly, Woolley, also photographed Bishop Nixon and a copy of the photo resides in the University of Tasmania Library Special and Rare Materials Collection. This demonstrates a loose connection between the three men with Woolley at the centre. So, was it Woolley who took the images in the 1860s when he was in direct personal contact with Dowling or later after 1885 when the watercolours were in the possession of the Royal Society? But if Wooley was the original photographer, then why did it take until after 1885 for the glass negatives to be used to make copies unless they were resurrected by Beattie? Another intriguing aspect of this puzzle is why the ten images in our Sale were found in London in the early 2000s. But again, there appears to be a credible explanation. Beattie was in correspondence with the author H. Ling Roth who in 1890 published his aptly named scholarly work ‘Aborigines of Tasmania’ This soon came to be viewed as the authoritative work on Tasmanian Aborigines even though Roth had never actually set foot in Tasmania. Roth relied on the torrent of detailed information provided to him by Beattie who could also have forwarded Roth the set of sepia images to be included in his book. The sepia images in our Sale have titles penned on the back in gall ink that largely coincide with the numbered titles of Beattie’s photographs in the hand-written index of ‘Aborigines of Australia,’ although images 5 and 12 are reversed on our images. Were they Beattie’s control copies taken from the original negative plates for which he had no further use? An expert comparison of the titles with Beattie’s handwriting could confirm this. If Beattie did send the images to Roth, they were not used in his book directly. Perhaps he thought it would prove too costly an exercise with an initial print run of just 150 copies, but he did include three sketches of Bock’s Aborigines executed by his daughter of which two are rough copies of the sepia images in our sale. Where else would Roth have had access to the largely unknown images of Bock’s watercolours if they were not sourced from Beattie? Although it may prove impossible to fully establish the authorship of the sepia photographs, they remain without doubt top-tier museum standard examples of Australiana that captured the forlorn destiny afforded Tasmania’s last full-blood Aborigines. The Sale also includes some rare First Edition books, modern Australian coins issues and a selection of fine jewellery to whet your appetite.

Woolley Charles Alfred photographer (1834 - 1922 referenceview full entry
Reference: see Smalls auction, Sydney, 15.1.23, lot 47:
10 photographs of Aborigines including Sepia Photograph of an 1830s Thomas Bock Watercolour of a Tasmanian Aborigine. Titled "Truggerana" in gall ink on reverse
Dimensions:
28 x 22.2 cm
Exhibited:
919
Literature:
Decorative Art
Medium:
Ethnographic & Indigenous Artifacts
Circa:
Australiana
Notes:
This is one of a series of ten 19th Century photographs in our Sale of the last full-blooded Tasmanian Aborigines which are believed to be in a unique format. The original photographer of the images has yet to be determined despite both the Mitchell Library in Sydney and the Australian National Library attributing the photographs to John Watt Beattie (1859 -1930) who published a version of the photographs in his c.1890 book ‘Aborigines of Tasmania.’ The National Library describes Beattie’s work as a compilation of "photographs of drawings by Thomas Bock, and 17 portraits taken from life in 1866'. All are embossed: J.W. Beattie, photographer, Hobart.” However, Beattie is unlikely to have been the original photographer of Bock’s images for a few reasons: Firstly, Beattie did not acknowledge any of the original photographers whose work he had appropriated for his book which includes the famous image of the ‘last’ full-blooded male Tasmanian Aboriginal, William Lanne by Charles Alfred Woolley (1834 - 1922). Beattie appears to have been awarded authorship of the photographs solely because he was the first to publish these previously unknown images of Bock’s work. However, the sepia photographs in our Sale which are printed on matt paper measuring 28 x 22.2 cm are starkly different from the Bock images in Beattie’s book which are appreciably larger i.e., 44.8 x 42.2 cm and are printed on glossy paper with much less details due to their overexposure. It becomes obvious that Beattie’s photographs are a later generation i.e., photos of photos and it raises the question as to why he would use lesser quality images in his publication if he were the creator and had access to the original glass negatives. Beattie obviously wanted his studio stamp to appear on all the photos included in his book but if he controlled the glass negatives around 1890 then surely have used them instead of having to resort to rephotographing existing images. Secondly, in describing the Bock images as “photographs of drawings” the National Library took its lead from Beattie who in his hand-written index of ‘Aborigines of Australia,’ described them as “sketches taken from life” and "in possession of the Royal Society of Tasmania." But if Beattie had photographed the source images firsthand, he would have known that they were not in fact of drawings or sketches by the convict artist Thomas Bock but were part of a set of watercolours that the artist had sold to the Baptist Minister Henry Dowling (1780-1869). That Beattie knew of the Dowling images but was unaware of the media used to produce them should certainly rule him out as the original photographer. In the early 1830s Thomas Bock received a commission from George Robinson ‘the protector of Aborigines’ to paint a rolling set of portraits of the last remaining full-blood Tasmanian natives before they were shipped off to Flinders Island ostensibly for their own survival. Bock, looking for more reward for his artistry, produced at least two other sets of the watercolours, one being for Lady Fitzroy, the Governor’s wife, and another for the influential Baptist Minister the Reverend Henry Dowling (1780-1869) whose set was acquired by the Royal Society sometime after his death. Each set was hand-painted years apart and so the watercolours are unique in their fine detail, and it is the Dowling watercolours that are an exact match to the sepia photographs. So, it raises the question of when were the original photographs taken and by whom? An examination of the sepia images conducted at the Mitchell Library in Sydney revealed the watermark of Steinbach on at least two of the photographs. This Belgian Company was a paper manufacturer from the late 1700s but only began producing photographic paper from 1885. There is also a pencil notation on the back of one image reading R.16 Sep.1/90 which would suggest that the sepia prints were produced in the period 1885 to 1890, although the original glass negatives are likely to predate this timeframe.There seems little doubt that Beattie had access to a set of the sepia images around 1890 that he rephotographed for his book, and so it cannot be ruled out that he may have also been responsible for producing the photographs if he was in possession of the glass negatives from the original photographer. If so, the negatives appear to have been used sparingly as to date no similar images are known to have surfaced in this particular format which would have been unusual for the commercially minded Beattie. During the 1890s Beattie, through his photographic studio in Hobart, marketed the work of two photographers who were active from the 1850s and both must be strong contenders as being the originator of the images. The first photographer was the first Anglican Bishop of Tasmania Francis Russell Nixon (1803-1879) who had enthusiastically taken up the new art of photography. Beattie was in possession of Nixon’s glass negatives and from the 1890s he printed large quantities of his photographs for sale. So, were the plates that produced the sepia photographs part of this hoard which is now believed ‘lost’? The second contender was the established photographer Charles Alfred Woolley (1834-1922) whose photographs of full-blood Aborigines taken in the 1860s were also marketed by Beattie from his studio in the 1890s. A number of Wooley’s well-known photos appear unattributed alongside the sepia images in Beattie’s ‘Aborigines of Tasmania’ as do those of Bishop Nixon. So, did Beattie also control Woolley’s negatives at this time, or did he resort to rephotographing existing photo stock? But how would Nixon or Woolley have had access to the Reverend Dowling’s watercolours to photograph? Bishop Nixon arrived in Tasmania in 1843 to take up his post as its first Anglican Bishop and while establishing his credentials he would likely have attended ecumenical meetings where he could have crossed paths with the influential Baptist the Reverend Henry Dowling. As a budding photographer he would have found Dowling’s watercolours a desirable subject and could have asked to photograph the paintings. Charles Woolley has an even more direct connection to the Reverend Dowling having photographed him in his studio in Hobart sometime between 1860 and 1869. Interestingly, Woolley, also photographed Bishop Nixon and a copy of the photo resides in the University of Tasmania Library Special and Rare Materials Collection. This demonstrates a loose connection between the three men with Woolley at the centre. So, was it Woolley who took the images in the 1860s when he was in direct personal contact with Dowling or later after 1885 when the watercolours were in the possession of the Royal Society? But if Wooley was the original photographer, then why did it take until after 1885 for the glass negatives to be used to make copies unless they were resurrected by Beattie? Another intriguing aspect of this puzzle is why the ten images in our Sale were found in London in the early 2000s. But again, there appears to be a credible explanation. Beattie was in correspondence with the author H. Ling Roth who in 1890 published his aptly named scholarly work ‘Aborigines of Tasmania’ This soon came to be viewed as the authoritative work on Tasmanian Aborigines even though Roth had never actually set foot in Tasmania. Roth relied on the torrent of detailed information provided to him by Beattie who could also have forwarded Roth the set of sepia images to be included in his book. The sepia images in our Sale have titles penned on the back in gall ink that largely coincide with the numbered titles of Beattie’s photographs in the hand-written index of ‘Aborigines of Australia,’ although images 5 and 12 are reversed on our images. Were they Beattie’s control copies taken from the original negative plates for which he had no further use? An expert comparison of the titles with Beattie’s handwriting could confirm this. If Beattie did send the images to Roth, they were not used in his book directly. Perhaps he thought it would prove too costly an exercise with an initial print run of just 150 copies, but he did include three sketches of Bock’s Aborigines executed by his daughter of which two are rough copies of the sepia images in our sale. Where else would Roth have had access to the largely unknown images of Bock’s watercolours if they were not sourced from Beattie? Although it may prove impossible to fully establish the authorship of the sepia photographs, they remain without doubt top-tier museum standard examples of Australiana that captured the forlorn destiny afforded Tasmania’s last full-blood Aborigines. The Sale also includes some rare First Edition books, modern Australian coins issues and a selection of fine jewellery to whet your appetite.

Henry Dowling (1780-1869)as photographer referenceview full entry
Reference: see Smalls auction, Sydney, 15.1.23, lot 47:
10 photographs of Aborigines including Sepia Photograph of an 1830s Thomas Bock Watercolour of a Tasmanian Aborigine. Titled "Truggerana" in gall ink on reverse
Dimensions:
28 x 22.2 cm
Exhibited:
919
Literature:
Decorative Art
Medium:
Ethnographic & Indigenous Artifacts
Circa:
Australiana
Notes:
This is one of a series of ten 19th Century photographs in our Sale of the last full-blooded Tasmanian Aborigines which are believed to be in a unique format. The original photographer of the images has yet to be determined despite both the Mitchell Library in Sydney and the Australian National Library attributing the photographs to John Watt Beattie (1859 -1930) who published a version of the photographs in his c.1890 book ‘Aborigines of Tasmania.’ The National Library describes Beattie’s work as a compilation of "photographs of drawings by Thomas Bock, and 17 portraits taken from life in 1866'. All are embossed: J.W. Beattie, photographer, Hobart.” However, Beattie is unlikely to have been the original photographer of Bock’s images for a few reasons: Firstly, Beattie did not acknowledge any of the original photographers whose work he had appropriated for his book which includes the famous image of the ‘last’ full-blooded male Tasmanian Aboriginal, William Lanne by Charles Alfred Woolley (1834 - 1922). Beattie appears to have been awarded authorship of the photographs solely because he was the first to publish these previously unknown images of Bock’s work. However, the sepia photographs in our Sale which are printed on matt paper measuring 28 x 22.2 cm are starkly different from the Bock images in Beattie’s book which are appreciably larger i.e., 44.8 x 42.2 cm and are printed on glossy paper with much less details due to their overexposure. It becomes obvious that Beattie’s photographs are a later generation i.e., photos of photos and it raises the question as to why he would use lesser quality images in his publication if he were the creator and had access to the original glass negatives. Beattie obviously wanted his studio stamp to appear on all the photos included in his book but if he controlled the glass negatives around 1890 then surely have used them instead of having to resort to rephotographing existing images. Secondly, in describing the Bock images as “photographs of drawings” the National Library took its lead from Beattie who in his hand-written index of ‘Aborigines of Australia,’ described them as “sketches taken from life” and "in possession of the Royal Society of Tasmania." But if Beattie had photographed the source images firsthand, he would have known that they were not in fact of drawings or sketches by the convict artist Thomas Bock but were part of a set of watercolours that the artist had sold to the Baptist Minister Henry Dowling (1780-1869). That Beattie knew of the Dowling images but was unaware of the media used to produce them should certainly rule him out as the original photographer. In the early 1830s Thomas Bock received a commission from George Robinson ‘the protector of Aborigines’ to paint a rolling set of portraits of the last remaining full-blood Tasmanian natives before they were shipped off to Flinders Island ostensibly for their own survival. Bock, looking for more reward for his artistry, produced at least two other sets of the watercolours, one being for Lady Fitzroy, the Governor’s wife, and another for the influential Baptist Minister the Reverend Henry Dowling (1780-1869) whose set was acquired by the Royal Society sometime after his death. Each set was hand-painted years apart and so the watercolours are unique in their fine detail, and it is the Dowling watercolours that are an exact match to the sepia photographs. So, it raises the question of when were the original photographs taken and by whom? An examination of the sepia images conducted at the Mitchell Library in Sydney revealed the watermark of Steinbach on at least two of the photographs. This Belgian Company was a paper manufacturer from the late 1700s but only began producing photographic paper from 1885. There is also a pencil notation on the back of one image reading R.16 Sep.1/90 which would suggest that the sepia prints were produced in the period 1885 to 1890, although the original glass negatives are likely to predate this timeframe.There seems little doubt that Beattie had access to a set of the sepia images around 1890 that he rephotographed for his book, and so it cannot be ruled out that he may have also been responsible for producing the photographs if he was in possession of the glass negatives from the original photographer. If so, the negatives appear to have been used sparingly as to date no similar images are known to have surfaced in this particular format which would have been unusual for the commercially minded Beattie. During the 1890s Beattie, through his photographic studio in Hobart, marketed the work of two photographers who were active from the 1850s and both must be strong contenders as being the originator of the images. The first photographer was the first Anglican Bishop of Tasmania Francis Russell Nixon (1803-1879) who had enthusiastically taken up the new art of photography. Beattie was in possession of Nixon’s glass negatives and from the 1890s he printed large quantities of his photographs for sale. So, were the plates that produced the sepia photographs part of this hoard which is now believed ‘lost’? The second contender was the established photographer Charles Alfred Woolley (1834-1922) whose photographs of full-blood Aborigines taken in the 1860s were also marketed by Beattie from his studio in the 1890s. A number of Wooley’s well-known photos appear unattributed alongside the sepia images in Beattie’s ‘Aborigines of Tasmania’ as do those of Bishop Nixon. So, did Beattie also control Woolley’s negatives at this time, or did he resort to rephotographing existing photo stock? But how would Nixon or Woolley have had access to the Reverend Dowling’s watercolours to photograph? Bishop Nixon arrived in Tasmania in 1843 to take up his post as its first Anglican Bishop and while establishing his credentials he would likely have attended ecumenical meetings where he could have crossed paths with the influential Baptist the Reverend Henry Dowling. As a budding photographer he would have found Dowling’s watercolours a desirable subject and could have asked to photograph the paintings. Charles Woolley has an even more direct connection to the Reverend Dowling having photographed him in his studio in Hobart sometime between 1860 and 1869. Interestingly, Woolley, also photographed Bishop Nixon and a copy of the photo resides in the University of Tasmania Library Special and Rare Materials Collection. This demonstrates a loose connection between the three men with Woolley at the centre. So, was it Woolley who took the images in the 1860s when he was in direct personal contact with Dowling or later after 1885 when the watercolours were in the possession of the Royal Society? But if Wooley was the original photographer, then why did it take until after 1885 for the glass negatives to be used to make copies unless they were resurrected by Beattie? Another intriguing aspect of this puzzle is why the ten images in our Sale were found in London in the early 2000s. But again, there appears to be a credible explanation. Beattie was in correspondence with the author H. Ling Roth who in 1890 published his aptly named scholarly work ‘Aborigines of Tasmania’ This soon came to be viewed as the authoritative work on Tasmanian Aborigines even though Roth had never actually set foot in Tasmania. Roth relied on the torrent of detailed information provided to him by Beattie who could also have forwarded Roth the set of sepia images to be included in his book. The sepia images in our Sale have titles penned on the back in gall ink that largely coincide with the numbered titles of Beattie’s photographs in the hand-written index of ‘Aborigines of Australia,’ although images 5 and 12 are reversed on our images. Were they Beattie’s control copies taken from the original negative plates for which he had no further use? An expert comparison of the titles with Beattie’s handwriting could confirm this. If Beattie did send the images to Roth, they were not used in his book directly. Perhaps he thought it would prove too costly an exercise with an initial print run of just 150 copies, but he did include three sketches of Bock’s Aborigines executed by his daughter of which two are rough copies of the sepia images in our sale. Where else would Roth have had access to the largely unknown images of Bock’s watercolours if they were not sourced from Beattie? Although it may prove impossible to fully establish the authorship of the sepia photographs, they remain without doubt top-tier museum standard examples of Australiana that captured the forlorn destiny afforded Tasmania’s last full-blood Aborigines. The Sale also includes some rare First Edition books, modern Australian coins issues and a selection of fine jewellery to whet your appetite.

Nixon Francis Russell (1803-1879) as photographer referenceview full entry
Reference: see Smalls auction, Sydney, 15.1.23, lot 47:
10 photographs of Aborigines including Sepia Photograph of an 1830s Thomas Bock Watercolour of a Tasmanian Aborigine. Titled "Truggerana" in gall ink on reverse
Dimensions:
28 x 22.2 cm
Exhibited:
919
Literature:
Decorative Art
Medium:
Ethnographic & Indigenous Artifacts
Circa:
Australiana
Notes:
This is one of a series of ten 19th Century photographs in our Sale of the last full-blooded Tasmanian Aborigines which are believed to be in a unique format. The original photographer of the images has yet to be determined despite both the Mitchell Library in Sydney and the Australian National Library attributing the photographs to John Watt Beattie (1859 -1930) who published a version of the photographs in his c.1890 book ‘Aborigines of Tasmania.’ The National Library describes Beattie’s work as a compilation of "photographs of drawings by Thomas Bock, and 17 portraits taken from life in 1866'. All are embossed: J.W. Beattie, photographer, Hobart.” However, Beattie is unlikely to have been the original photographer of Bock’s images for a few reasons: Firstly, Beattie did not acknowledge any of the original photographers whose work he had appropriated for his book which includes the famous image of the ‘last’ full-blooded male Tasmanian Aboriginal, William Lanne by Charles Alfred Woolley (1834 - 1922). Beattie appears to have been awarded authorship of the photographs solely because he was the first to publish these previously unknown images of Bock’s work. However, the sepia photographs in our Sale which are printed on matt paper measuring 28 x 22.2 cm are starkly different from the Bock images in Beattie’s book which are appreciably larger i.e., 44.8 x 42.2 cm and are printed on glossy paper with much less details due to their overexposure. It becomes obvious that Beattie’s photographs are a later generation i.e., photos of photos and it raises the question as to why he would use lesser quality images in his publication if he were the creator and had access to the original glass negatives. Beattie obviously wanted his studio stamp to appear on all the photos included in his book but if he controlled the glass negatives around 1890 then surely have used them instead of having to resort to rephotographing existing images. Secondly, in describing the Bock images as “photographs of drawings” the National Library took its lead from Beattie who in his hand-written index of ‘Aborigines of Australia,’ described them as “sketches taken from life” and "in possession of the Royal Society of Tasmania." But if Beattie had photographed the source images firsthand, he would have known that they were not in fact of drawings or sketches by the convict artist Thomas Bock but were part of a set of watercolours that the artist had sold to the Baptist Minister Henry Dowling (1780-1869). That Beattie knew of the Dowling images but was unaware of the media used to produce them should certainly rule him out as the original photographer. In the early 1830s Thomas Bock received a commission from George Robinson ‘the protector of Aborigines’ to paint a rolling set of portraits of the last remaining full-blood Tasmanian natives before they were shipped off to Flinders Island ostensibly for their own survival. Bock, looking for more reward for his artistry, produced at least two other sets of the watercolours, one being for Lady Fitzroy, the Governor’s wife, and another for the influential Baptist Minister the Reverend Henry Dowling (1780-1869) whose set was acquired by the Royal Society sometime after his death. Each set was hand-painted years apart and so the watercolours are unique in their fine detail, and it is the Dowling watercolours that are an exact match to the sepia photographs. So, it raises the question of when were the original photographs taken and by whom? An examination of the sepia images conducted at the Mitchell Library in Sydney revealed the watermark of Steinbach on at least two of the photographs. This Belgian Company was a paper manufacturer from the late 1700s but only began producing photographic paper from 1885. There is also a pencil notation on the back of one image reading R.16 Sep.1/90 which would suggest that the sepia prints were produced in the period 1885 to 1890, although the original glass negatives are likely to predate this timeframe.There seems little doubt that Beattie had access to a set of the sepia images around 1890 that he rephotographed for his book, and so it cannot be ruled out that he may have also been responsible for producing the photographs if he was in possession of the glass negatives from the original photographer. If so, the negatives appear to have been used sparingly as to date no similar images are known to have surfaced in this particular format which would have been unusual for the commercially minded Beattie. During the 1890s Beattie, through his photographic studio in Hobart, marketed the work of two photographers who were active from the 1850s and both must be strong contenders as being the originator of the images. The first photographer was the first Anglican Bishop of Tasmania Francis Russell Nixon (1803-1879) who had enthusiastically taken up the new art of photography. Beattie was in possession of Nixon’s glass negatives and from the 1890s he printed large quantities of his photographs for sale. So, were the plates that produced the sepia photographs part of this hoard which is now believed ‘lost’? The second contender was the established photographer Charles Alfred Woolley (1834-1922) whose photographs of full-blood Aborigines taken in the 1860s were also marketed by Beattie from his studio in the 1890s. A number of Wooley’s well-known photos appear unattributed alongside the sepia images in Beattie’s ‘Aborigines of Tasmania’ as do those of Bishop Nixon. So, did Beattie also control Woolley’s negatives at this time, or did he resort to rephotographing existing photo stock? But how would Nixon or Woolley have had access to the Reverend Dowling’s watercolours to photograph? Bishop Nixon arrived in Tasmania in 1843 to take up his post as its first Anglican Bishop and while establishing his credentials he would likely have attended ecumenical meetings where he could have crossed paths with the influential Baptist the Reverend Henry Dowling. As a budding photographer he would have found Dowling’s watercolours a desirable subject and could have asked to photograph the paintings. Charles Woolley has an even more direct connection to the Reverend Dowling having photographed him in his studio in Hobart sometime between 1860 and 1869. Interestingly, Woolley, also photographed Bishop Nixon and a copy of the photo resides in the University of Tasmania Library Special and Rare Materials Collection. This demonstrates a loose connection between the three men with Woolley at the centre. So, was it Woolley who took the images in the 1860s when he was in direct personal contact with Dowling or later after 1885 when the watercolours were in the possession of the Royal Society? But if Wooley was the original photographer, then why did it take until after 1885 for the glass negatives to be used to make copies unless they were resurrected by Beattie? Another intriguing aspect of this puzzle is why the ten images in our Sale were found in London in the early 2000s. But again, there appears to be a credible explanation. Beattie was in correspondence with the author H. Ling Roth who in 1890 published his aptly named scholarly work ‘Aborigines of Tasmania’ This soon came to be viewed as the authoritative work on Tasmanian Aborigines even though Roth had never actually set foot in Tasmania. Roth relied on the torrent of detailed information provided to him by Beattie who could also have forwarded Roth the set of sepia images to be included in his book. The sepia images in our Sale have titles penned on the back in gall ink that largely coincide with the numbered titles of Beattie’s photographs in the hand-written index of ‘Aborigines of Australia,’ although images 5 and 12 are reversed on our images. Were they Beattie’s control copies taken from the original negative plates for which he had no further use? An expert comparison of the titles with Beattie’s handwriting could confirm this. If Beattie did send the images to Roth, they were not used in his book directly. Perhaps he thought it would prove too costly an exercise with an initial print run of just 150 copies, but he did include three sketches of Bock’s Aborigines executed by his daughter of which two are rough copies of the sepia images in our sale. Where else would Roth have had access to the largely unknown images of Bock’s watercolours if they were not sourced from Beattie? Although it may prove impossible to fully establish the authorship of the sepia photographs, they remain without doubt top-tier museum standard examples of Australiana that captured the forlorn destiny afforded Tasmania’s last full-blood Aborigines. The Sale also includes some rare First Edition books, modern Australian coins issues and a selection of fine jewellery to whet your appetite.

Menpes Mortimerview full entry
Reference: Mortimer Menpes PARIS, text by Dorothy Menpes.
Publishing details: Published by Adam and Charles Black, London. publisher's red boards, decorated and titled in gilt, 1907.
Ref: 1000
Newton Helmutview full entry
Reference: Helmust Newton - 47 Nudes. First UK Edition of German-Australian photographer Helmut Newton’s (1920-2004) classic and striking portraiture collection, published elsewhere as Big Nudes. Introduction by Karl Lagerfeld.

Publishing details: London: Thames & Hudson, 1982.
First UK Edition.
80 pages, black and white photographs. Grey cloth, blind lettering, pictorial jacket.

Ref: 1009
Ceramicsview full entry
Reference: Ceramics - Deborah Halpern, Fiona Murphy
Exhibition catalogue. [to be indexed]
Publishing details: Shepparton: Shepparton Art Gallery, 1990.
First Edition.

28cm x 21cm. 48 pages, colour illustrations. Lettered wrappers.
Ref: 1000
Sites of Connectionview full entry
Reference: Sites of Connection - Lisa Chandler, Megan Williams. Catalogue of an exhibition 13 August – 30 October 2021. Artists: Leah Barclay, Bloom Collective, Donna Davis, Alinta Krauth, Emma Lindsay.

Publishing details: Sippy Downs: University of the Sunshine Coast Art Gallery, 2021.
First Edition. pages, colour illustrations. Illustrated saddle-stapled wrappers.

Ref: 1000
Jerrems Carolview full entry
Reference: Small Homage : Carol Jerrems (1949-1980). Prahran College Gallery May 6 – May 23 Tues-Fri 10am-4pm.
Publishing details: Prahran College Gallery, 1980 [catalogue details to be entered]
Ref: 1000
Lindsay Rubyview full entry
Reference: see Douglas Stewart Fine Books, January, 2023 catalogue: Untitled (Girl with serpent).
Gouache on paper, measuring 205 x 130mm, sketched in yellow, white in black, of a girl with party dress and large hat dancing with a large snake. Undated, circa 1910 (?). Initialled lower right in the hand of her husband Will Dyson ‘R.L.’ and inscribed ‘To Bernard Cronin from Will Dyson’. Framed.
A stunning small coloured work by Ruby Lindsay encompassing the spirit of the fin-de-siècle.
Ruby Lindsay was the equally talented sister of more well known artists Norman and Lionel Lindsay, renowned for her book illustrations during the early twentieth century, yet dying tragically young in 1919 as a result of the outbreak of influenza. This charming work is unsigned, yet marked with her initials by her husband Will Dyson, and bears a presentation inscription to his good friend Bernard Cronin (1884 – 1968). Cronin was born in England and moved to Australia with his family in 1886. He took up writing while working for the Department of the Navy and published his first book in 1918. He also made contributions to The Bulletin (along with Dyson and Lind), and  later became a journalist, writing for the Melbourne Herald.
A delightful composition, gifted by Ruby’s husband to a close friend and important literary figure.
Provenance:
Leonard Joel, Australian and European Paintings, Melbourne, 21/04/1998, Lot No. 406
private collection, Melbourne
Douglas Stewart Fine Books, Melbourne
private collection, Adelaide (acquired from the above, 2014)
Douglas Stewart Fine Books, Melbourne (acquired from the above, 2023)

Gaze Haroldview full entry
Reference: Coppertop Cruises : The wonderful voyage of the good ship “Queercraft”

Publishing details: Melbourne : Melbourne Publishing House, [1920]. Large octavo, papered boards with pasted on illustration, in illustrated dust jacket, pp 133, illustrated with colour plates and line drawings;
Ref: 1000
Henson Billview full entry
Reference: Paris Opera.n[illustrated with Henson’s exquisite photographs from his 1992 series staged at the opera houses of Paris.]
‘r, 2022. Quarto, 310 x 310 mm, gilt-lettered papered boards in illustrated dustjacket, all edges gilt, pp. 52, illustrated with Henson’s exquisite photographs from his 1992 series staged at the opera houses of Paris. New copy.
In the early 1990’s Bill Henson was commissioned by the Paris Opera to produce a series of works that were to bring the emotional effect of music into visual form. For the first time, all 50 images from the series are brought together as a delicately printed outsized monograph.
“Paris Opera is a development for Henson both in his use of colour and in the way he presents human faces in interplay through convention, the framing device, of the face intent on music: whether in appreciation or indifference, or with an inscrutable self-possession. Watching faces, lit from below, sit in half-light suggests that the only illumination comes from the stage and what these faces suggest is always a revelation of some inwardness before the other event: the musical drama unfolding in front of their eyes. The drama of portraiture in response is instead intensely dramatic and Henson has done wonders to make his camera suggest the gradations and modulations of a painterly apprehension. It is drama full of shadow and chiaroscuro, of Rembrandtian depths of brown and gold and blackest green.
“
Henson is never afraid to suggest some portent just out of reach. Indeed, it plays on the possibility like a piano; that is one reason why the simulacrum of high art is so manifest in these most painterly of Henson’s pictures. They are in one-way photographic representations of the nature and effect of art, their occasion is how a face may look as it listens, but they are in a fuller sense, attempts to instantiate the idea of art, that is to say the idea of the experience of art, without any recourse to the literary or intertextual obviousness.
“
As with all of Henson’s work there is a sense of drama, a manifest subject – here are the people formally dressed to sit and listen but beyond this naturalising of a complex and allusive assignment this Henson series is an encapsulated history of how the face may be seen when it looks away into something other.
“It would be tiresome and intrusive to read each of these photographs as if they disclosed a history when it is partly their ability to exhaust any number of histories which gives them their power, which endows their painterly literalism of hue and ‘texture’; it is their apparent belief in the power of the eye to highlight psychology and moral significance which makes us believe in their status and origin as photographs.
“Perhaps the most definitive of all these images is of a man in his 60s to the left of the frame with a young son, in late pre-puberty. I have heard the image described as everything from an embodiment of the world of the Godfather films to a symbolic portrait of the great Australian novelist  Patrick White. Perhaps it is all of these things. The man in three-quarter profile and in full evening dress, listens to what might be the overture of The Magic Flute for what might be the ten thousandth time. The intimations of sexual and general enchantment, the mighty cord betokening the mystery of what things mean, none of this tells him anything new. The face is consummate with knowledge, it is not only the face of anything our civilisation may have to teach, it is also the face of someone who has experienced the point of that knowledge, a face however civilised, which is in part depraved by the experience art reflects and gives shape to. This is a face so ripe it knows it will die. But the boy, the boy is off elsewhere, Papageno’s flute is calling, the music of Sarastro is the music of God’s goodness not the dread of his power. The boy sniffs the air. His life is all before him.
“Only art of great value can be talked about in this way, as if its executive means were the merest footnote to its content and significance.” – Peter Craven, Extract from Paris Opera
[From Douglas Stewart Fine Books]

Publishing details: ondon : Stanley/Barker, 2022. Quarto, 310 x 310 mm, gilt-lettered papered boards in illustrated dustjacket, all edges gilt, pp. 52
Ref: 1000
Spyropoulos Jannis
view full entry
Reference: Jannis Spyropoulos, text by Robert Haines, catalogue. The fourth exhibition by the Greek painter at David Jones Art Gallery.
Publishing details: Sydney : David Jones’ Art Gallery, 1974. Quarto, lettered wrappers, pp. [4], portrait,
Ref: 1000
Carmichael John view full entry
Reference: see https://deafhistoryaustralia.com/author/dhawriter/ for collated information on and numerous images by John carmichael.
Twenty-five Years and Beyondview full entry
Reference: Twenty-five Years and Beyond: Papunya Tula Painting, by Doreen Mellor, Vincent Megaw. Catalogue for an exhibition.
Publishing details: Flinders University Art Museum, 1999.[iv], 97 pages, illustrations, some colour, maps. Illustrated wrappers.


Ref: 1000
Papunya Tulaview full entry
Reference: see Twenty-five Years and Beyond: Papunya Tula Painting, by Doreen Mellor, Vincent Megaw. Catalogue for an exhibition.
Publishing details: Flinders University Art Museum, 1999.[iv], 97 pages, illustrations, some colour, maps. Illustrated wrappers.


Aborigiam art Papunya Tulaview full entry
Reference: see Twenty-five Years and Beyond: Papunya Tula Painting, by Doreen Mellor, Vincent Megaw. Catalogue for an exhibition.
Publishing details: Flinders University Art Museum, 1999.[iv], 97 pages, illustrations, some colour, maps. Illustrated wrappers.


Rowan Ellisview full entry
Reference: Mrs. Ellis Rowan and Her Contributions to Australian Art and Science. By Henry A. Tardent.
Ellis Rowan (1848-1922) was an Australian artist, naturalist and explorer. She travelled widely, in Australia, New Zealand and New Guinea, usually in primitive conditions, to paint plants, birds, butterflies and other insects and their habitats, often being the first artist to depict them. She exhibited successfully world wide, despite the envy of other artists who described her as a mere flower painter, and sold 100 paintings to the South Australian Government and 125 to the Queensland Government. After her death the Commonwealth purchased a further 947 paintings, now held at the National Library of Australia. This work by Swiss writer Henry Alexis Tardent (1853-1929) includes 12 colour plates of Rowan’s work, with descriptions by C.T. White, Queensland Government Botanist. Tardent moved to Queensland in 1887 and was a founding memer of Les Causeries Francaises (Alliance Francaise).

Publishing details: Brisbane: Watson, Ferguson & Co., 1927. 58 pages, colour illustrations. Lettered side-stapled wrappers, pictorial onlay.
Ref: 1009
Tribe Barbaraview full entry
Reference: Barbara Tribe: Retrospective exhibition of Sculpture, Drawings and Paintings. Exhibiton catalogue.
Publishing details: City Museum and Art Gallery Stoke-on Trent, 1979.
Ref: 1000
McNaughton Alastair view full entry
Reference: see Coastal Edge Auction Emporium LLC, Florida, US, 28.1.23, lot 86: Alastair McNaughton Pair of Indigenous Children Australia Photograph Prints. One is titled "Baby Roo", the other "Wombat I", both taken in Western Australia. Each one measures 18" x 12". Appears to have been previously framed. Alastair McNaughton "Mac" was born in England in 1949. He graduated from Art College with a BA in Graphic Design and Photography. His love of travel and getting to know indigenous peoples culture has led him all over the world and continues to do so. Photography being the perfect medium for his creativity. To capture the right image, he believes, it's necessary to understand how people live, the problems that beset them, and their own picture of the world. Firstly living and perfecting his craft with the Masai in Tanzania, followed by staying in the desert region of Gujarat, India with the nomadic pastoral tribe The Rabari in areas around Bhuj. Later on Alastair spent four years living with the Wangkatja (Wongi) Aboriginal community at Coonana in the Western Australian desert (Ngaanyatjarra lands)
Power + colourview full entry
Reference: Power + colour : new painting from the Corrigan collection of 21st century Aboriginal art.
The enthralling power and colour of Aboriginal painting of Tjukurpa and country has brought Aboriginal art to the forefront of contemporary art practice in Australia. Aboriginal art has also played an important role in the formulation of Indigenous Land Rights debates and Native title jurisprudence. 2012 marks the twentieth anniversary of the High Court of Australia’s decision in Mabo, which overturned the British doctrine of terra nullius – the false promise on which the colony was founded – and forever changed the legal landscape for Indigenous rights. This book charts the history of Aboriginal art’s impact on Australian law, and explores the inextricable nexus of Aboriginal law and sense of self – an entirety that is inseparable from country. And, of course, This book is about strikingly beautiful contemporary paintings. Showcasing 129 works of art by 76 artists working across more than 25 communities nation-wide, this resplendent book exemplifies the diversity of expression within Aboriginal contemporary painting, and reveals, in nuance and detail, the breadth and depth of Aboriginal connectedness to country. [to be indexed]


Publishing details: Melbourne : Macmillan, 2012. Quarto, illustrated boards in dustjacket, pp. 368, illustrated.
Ref: 1000
Aboriginal artview full entry
Reference: see Power + colour : new painting from the Corrigan collection of 21st century Aboriginal art.
The enthralling power and colour of Aboriginal painting of Tjukurpa and country has brought Aboriginal art to the forefront of contemporary art practice in Australia. Aboriginal art has also played an important role in the formulation of Indigenous Land Rights debates and Native title jurisprudence. 2012 marks the twentieth anniversary of the High Court of Australia’s decision in Mabo, which overturned the British doctrine of terra nullius – the false promise on which the colony was founded – and forever changed the legal landscape for Indigenous rights. This book charts the history of Aboriginal art’s impact on Australian law, and explores the inextricable nexus of Aboriginal law and sense of self – an entirety that is inseparable from country. And, of course, This book is about strikingly beautiful contemporary paintings. Showcasing 129 works of art by 76 artists working across more than 25 communities nation-wide, this resplendent book exemplifies the diversity of expression within Aboriginal contemporary painting, and reveals, in nuance and detail, the breadth and depth of Aboriginal connectedness to country.


Publishing details: Melbourne : Macmillan, 2012. Quarto, illustrated boards in dustjacket, pp. 368, illustrated.
Aboriginal artview full entry
Reference: see Colour Power - Aboriginal Art post 1984, by Judith Ryan [to be indexed]
Publishing details: NGV, 2004, folded card covers, 160pp
Nolan Sidneyview full entry
Reference: A day-by-day guide to the Adelaide ladies : 59 works by Sidney Nolan, 27 April 1964 to 11 June 1964, by Andrew Turley.
This document was been created solely for the purpose of promoting and facilitating education and research’ – inside front cover flap. ‘This was written as a private research project but copies have been printed for Australian public art galleries’ – inside back cover flap.
“Sidney completed at least 59 works in the 46 days between 27th April and 11 June 1964. Inspired by Australian faces from Adelaide to Sydney they were not all taken from his South Australian experiences but explored the country’s contemporary charcater as a whole. … In 1964, at the Adelaide Festival, … Sidney saw ‘the crowd of ladies young and old, all similarly wearing flower festooned hats as they paraded at the garden party’ … [and] “wrote that ‘the light continues to pour down transfiguring what would otherwise be tawdry. Even the women in their great seaweed mop hats, coloured like lollies, have a totemic air'” (page 12-13). In this series of paintings of anonymous women “Sidney pinpointed a time in modern society and a role that only women could own. A role based on an imported English class consciousness as Australian women were either hemmed into small pockets or isolated and strewn across a wide brown land” (page 168). – Trove. {A copy wityh Douglas Stewart Fine Books, January, 2023]

Publishing details: Andrew Turley, 2016]. Quarto, illustrated wrappers, pp. 176, illustrated. Printed in an edition of 75 copies. ‘Not for sale.
Ref: 1009
Carew-Smyth Ponsonby May 1860 - 1939view full entry
Reference: The Austral drawing book.
[’Ponsonby May Carew-Smyth (1860-1939)
Born at Cork, Ireland in 1860 Carew-Smyth trained in art and teaching at Belfast Government School. In 1885 he attended the National Art Training School, London. He married Marie Reynolds in 1890, and together they migrated to Australia. Carew-Smyth started his Australian career at the Ballarat School of Art and Design.
In 1899 Carew-Smyth was appointed inspector of drawing with the Department of Education. He was involved in the early years of Prahran and Swinburne Technical Colleges, as well as the Melbourne Working Men’s College. In 1906 he was appointed chairman of the Victorian State Schools’ Equipment and Decoration Society, and the Victorian State School Exhibition of the same year.
Carew Smyth designed the commemorative wall plaques installed in State Schools after World War I, and the art teachers’ certificate. During the 1930s Carew-Smyth wrote on decorative arts for the ‘Argus’ newspaper. In mid-1936 he was acting Director of the National Gallery of Victoria.
Carew-Smyth didn’t forget his talented friends at Ballarat. In 1924 he invited the Ballarat School of Art to design the official cover for the visit of the British squadron. The design was executed by Mr D. I Johnston, under the supervision of Harold H. Smith. Ponsonby Carew-Smyth died on 9 October 1939 at his South Yarra home, and was cremated. – Federation University https://federation.edu.au/about-us/our-university/history/geoffrey-blainey-research-centre/honour-roll/c/ponsonby-may-carew-smyth-1860-1939. ‘ From Douglas Stewart Fine Books]

Publishing details: Whitcombe & Tombs, circa 1910. Folio, illustrated wrappers by Carew-Smyth, pp. [24], instructional text inside the wrappers, each page blank except for the upper margin with further guides to freehand drawing.
Ref: 1009
Whiteley Brettview full entry
Reference: Brett Whiteley. Eden and Eve : tentative catalogue for Australian Galleries. Exhibition catalogue featuring 41 paintings and bronzes, not all completed at the time of printing the catalogue.
Publishing details: Australian Galleries, 1984. Exhibition catalogue, oversized folding sheet (315 x 440 mm), reproducing 45 polaroids of Whiteley artworks, portrait of the artist, reproduction of Whiteley script,
Ref: 1000
Buvelot Louisview full entry
Reference: Louis Buvelot 1814-1888 : Morges, Bahia, Rio de Janeiro, la Chaux-de-Fonds, Melbourne. By Félix et Violette Ansermoz-Dubois, Jocelyn Gray, avec la collaboration de Maurice Bastian. Monograph on the Swiss painter Louis Buvelot including his time spent in Australia with illustrations.
Publishing details: Lausanne, Switzerland] : Société vaudoise des Beaux-Arts, [1985?]. Quarto, illustrated wrappers, pp. 48, illustrated.
Ref: 1009
Nolan Sidneyview full entry
Reference: Nolan. 15 floral images. Screenprints from the Paradise Garden series.

Publishing details: Marlborough Graphics, 1973. Quarto, pp. 4, illustrated.
Ref: 1000
Excaliburview full entry
Reference: Excalibur : contemporary artists and Celtic heritage, by Ann Carew.
Includes artists: John Campbell, Roisin O’Dwyer, David Thomas, Yvonne Boag, Euan Heng, David Watt, Alun Leach-Jones, Tim Jones, Trefor Prest, Angus Jones, Hilarie Mais, Bronwyn Oliver, and Loretta Quinn.
Publishing details: Geelong, Vic. : Geelong Art Gallery, 1993. Quarto, folded sheet, pp. 8, printed in an edition of 400 copies.
Ref: 1000
Landscapes of the Mornington Peninsulaview full entry
Reference: Landscapes of the Mornington Peninsula. commissioned essays. Introduction by Andrea May Churcher. Artists include Eric Thake, Eugene von Gerard, Ambrose Patterson, and Rick Amor. [To be indexed]


Publishing details: Mornington : Mornington Peninsula Regional Gallery, 2009. Octavo, illustrated wrappers, pp. [24], illustrated. A
Ref: 1000
Wilbow collection : a private viewview full entry
Reference: Wilbow collection : a private view. ncludes contributions by Ruth Cubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc. [To be indexed fully].

Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Ref: 1009
Jussell John Peterby Ann Galballyview full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Cubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Fox Emanuel Philips by Ruth Zubans view full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Zubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Streeton Arthur by Geoffrey Smith view full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Zubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Boyd Arthur by Geoffrey Smith view full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Zubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Nolan Sidney by Geoffrey Smith view full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Zubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Perceval John by Geoffrey Smith view full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Zubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Blackman Charles by Felicity St. John Mooreview full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Zubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Williams Fred by Kirsty Grant view full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Zubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Henson Bill by Emma Mathews view full entry
Reference: see Wilbow collection : a private view. ncludes contributions by Ruth Zubans on Emanuel Philips Fox, Ann Galbally on Peter Russell, Geoffrey Smith on Arthur Streeton, Arthur Boyd, Sidney Nolan and John Perceval, Felicity St. John Moore on Charles Blackman, Kirsty Grant on Fred Williams, Emma Mathews on Bill Henson etc.
Publishing details: Melbourne : Monash Gallery of Art, 2004. Quarto, illustrated wrappers, pp. 62, illustrated. Printed in an edition of 500 copies.
Cheer up childrenview full entry
Reference: Cheer up children : an exhibition of watercolours painted in 1910 for children in hospital, by Robert Holden. Paintings by Jessie Constance Alicia Traill, Janet Agnes Cumbrae Stewart, Ida Rentoul Outhwaite, and Edith Annie Mary Alsop. Includes biographical information and lists of works.
Publishing details: [Melbourne] : Historical Collection Committee, Prince Henry’s Hospital, 1986. Small quarto, illustrated wrappers, pp. 12, illustrated.
Ref: 1000
Traill Jessie Constance Aliciaview full entry
Reference: see Cheer up children : an exhibition of watercolours painted in 1910 for children in hospital, by Robert Holden. Paintings by Jessie Constance Alicia Traill, Janet Agnes Cumbrae Stewart, Ida Rentoul Outhwaite, and Edith Annie Mary Alsop. Includes biographical information and lists of works.
Publishing details: [Melbourne] : Historical Collection Committee, Prince Henry’s Hospital, 1986. Small quarto, illustrated wrappers, pp. 12, illustrated.
Stewart Janet Agnes Cumbrae view full entry
Reference: see Cheer up children : an exhibition of watercolours painted in 1910 for children in hospital, by Robert Holden. Paintings by Jessie Constance Alicia Traill, Janet Agnes Cumbrae Stewart, Ida Rentoul Outhwaite, and Edith Annie Mary Alsop. Includes biographical information and lists of works.
Publishing details: [Melbourne] : Historical Collection Committee, Prince Henry’s Hospital, 1986. Small quarto, illustrated wrappers, pp. 12, illustrated.
Outhwaite Ida Rentoul view full entry
Reference: see Cheer up children : an exhibition of watercolours painted in 1910 for children in hospital, by Robert Holden. Paintings by Jessie Constance Alicia Traill, Janet Agnes Cumbrae Stewart, Ida Rentoul Outhwaite, and Edith Annie Mary Alsop. Includes biographical information and lists of works.
Publishing details: [Melbourne] : Historical Collection Committee, Prince Henry’s Hospital, 1986. Small quarto, illustrated wrappers, pp. 12, illustrated.
Alsop Edith Annie Mary view full entry
Reference: see Cheer up children : an exhibition of watercolours painted in 1910 for children in hospital, by Robert Holden. Paintings by Jessie Constance Alicia Traill, Janet Agnes Cumbrae Stewart, Ida Rentoul Outhwaite, and Edith Annie Mary Alsop. Includes biographical information and lists of works.
Publishing details: [Melbourne] : Historical Collection Committee, Prince Henry’s Hospital, 1986. Small quarto, illustrated wrappers, pp. 12, illustrated.
Maitland City Art Gallery catalogueview full entry
Reference: Maitland City Art Gallery catalogue, list of paintings, including works by Brian Dunlop, Salt Herman, John Coburn, George Baldessin, David Rose, Robert Grieve, David Rankin and others.
Publishing details: Maitland : Maitland City Art Gallery, 1975. Octavo, lettered wrappers, pp. 4,
Ref: 1009
Nash Davidview full entry
Reference: David Nash paintings – new works on paper and canvas, essay by Diane Dunbar, biography,
Publishing details: Launceston : Queen Victoria Museum and Art Gallery, 1993. Narrow folio, folded card, list of works loosely enclosed.


Ref: 1000
Walker Murrayview full entry
Reference: A survey : Murray Walker Catalogue of 103 works, essay by Betty Churcher.
Publishing details: [Melbourne] : University Gallery, 1983. Quarto, cream wrappers, illustrated front, unpaginated [pp. 24], illustrations and pictures throughout.
Ref: 1000
Cato Johnview full entry
Reference: John Cato : retrospective
Edited by Paul Cox and Bryan Gracey.
In his photographic essays, Cato explores the harsh beauty and spiritual force of the outback. His images, fashioned from the extreme light and shade of the southern sun, have an almost sculptural intensity: a termite-ridden fence-post pierced with rusty-wire, the wind-furrowed surface of a water hole, the twisted bark of a gum tree. They are beautiful pictures, realised with great technical control, but Cato is not content to see himself merely as an ‘artist’ or a ‘photographer’. He describes himself – in his beliefs – as an ‘animist’: I believe that rocks have souls just as much as people. I think the word that has been used about my work which pleases me the most, is elemental, and it is that element of life within the landscape that to some is a deep religious experience. It is a vision that he traces back to the mythology of the Ancient Greeks, but it has interesting resonances, too, with the beliefs of the Australian aboriginals and the practice of their art.

Publishing details: Melbourne : Wilkinson Publishing, 2013. Quarto, illustrated wrappers, unpaginated, illustrated.
Ref: 1000
Hohaus Hermanview full entry
Reference: Sculpture by Hermann Hohaus



Publishing details: Melbourne : the author, 1971. Octavo, illustrated wrappers (a little marked), pp. [70], illustrated.
Ref: 1000
Australian jewelleryview full entry
Reference: Australian jewellery by Dick Richards ; photography by Grant Hancock ; Crafts Board Exhibition Co-ordinator, Klaus Kuziow. European tour exhibition (1982-1983) organised by the Crafts Board of the Australia Council in association with the Department of Foreign Affairs, with the cooperation of the Art Gallery of South Australia.

Publishing details: [Sydney?] : Crafts Board of the Australia Council in association with the Department of Foreign Affairs, [1982?]. Quarto, illustrated wrappers, pp. 80, illustrated.
Ref: 1009
jewelleryview full entry
Reference: see Australian jewellery by Dick Richards ; photography by Grant Hancock ; Crafts Board Exhibition Co-ordinator, Klaus Kuziow. European tour exhibition (1982-1983) organised by the Crafts Board of the Australia Council in association with the Department of Foreign Affairs, with the cooperation of the Art Gallery of South Australia.

Publishing details: [Sydney?] : Crafts Board of the Australia Council in association with the Department of Foreign Affairs, [1982?]. Quarto, illustrated wrappers, pp. 80, illustrated.
Partos paulview full entry
Reference: Paul Partos : final works 2002Exhibition catalogue of 22 works with essay by Anna Clabburn.
Publishing details: Melbourne : TarraWarra Museum of Art, 2006. Quarto, illustrated wrappers, pp. 33, colour illustrations throughout.
Ref: 1000
Le mémorial view full entry
Reference: Le mémorial : un chef-d’oeuvre d’art arborigène - The Memorial : a masterpiece of Aboriginal art

The Ramingining Artists made this Aboriginal memorial in 1987-8. It is ‘widely regarded as one of the most important works of art to have been made in Australia in the 20th century’, and is now in the National Gallery of Australia. The Musée Olympique in Lausanne hosted this travelling display in conjunction with the Olympics 2000 celebrations.

Publishing details: Lausanne : Musée Olympique, 1999. Large quarto (300 x 240 mm), pictorial card with French flaps, pp. 144, colour illustrated; parallel text in French and English;
Ref: 1000
Aboriginal artview full entry
Reference: see Le mémorial : un chef-d’oeuvre d’art arborigène - The Memorial : a masterpiece of Aboriginal art

The Ramingining Artists made this Aboriginal memorial in 1987-8. It is ‘widely regarded as one of the most important works of art to have been made in Australia in the 20th century’, and is now in the National Gallery of Australia. The Musée Olympique in Lausanne hosted this travelling display in conjunction with the Olympics 2000 celebrations.

Publishing details: Lausanne : Musée Olympique, 1999. Large quarto (300 x 240 mm), pictorial card with French flaps, pp. 144, colour illustrated; parallel text in French and English;
Hallandal Pam view full entry
Reference: Pam Hallandal : drawings



Publishing details: Mornington, Vic : Mornington Peninsula Regional Gallery, 1998. Quarto, illustrated wrappers, pp. 20, illustrated.
Ref: 1000
Neeson John Rview full entry
Reference: see Arrangement : Australian still life, 1973-1993 Includes Rosalind Piggott, Dale Hickey, Kevin Lincoln, John Brack et al. Catalogue of an exhibition held at the Museum of Modern Art at Heide, 15 November 1993 – 23 January 1994.
$


Publishing details: Melbourne : Museum of Modern Art at Heide, 1993. Small quarto, illustrated wrappers after Margaret Olley, pp. 20, illustrated.
Wanambi Garawan and Wolpa and Wukun Wanambiview full entry
Reference: One clan three hands - Garawan Wanambi, Wolpa Wanambi, Wukun Wanambi ; in association with Buku-Larrnggay Mulka
Publishing details: Niagara Galleries Melbourne 8 February- 5 March, 2011. Melbourne : Niagara Publishing, 2011. Octavo, illustrated wrappers, pp. 50, illustrated.
Ref: 1000
Nolan Sidney the Greek Seriesview full entry
Reference: see Bonhams auction, 31.1.23:
Sidney Nolan
The Greek Series II
ENDING FROM 31 JANUARY 2023, 16:00 AEDT

In 1953, aged 36, Sidney Nolan left Australia and moved to Britain, where he was to remain on and off. By the time he sailed, Nolan, the tram driver's son from St Kilda, had already made a name for himself with his European-influenced abstracts and stage designs (1938-42), his St Kilda and Wimmera pictures (1942-45), the Ned Kelly series (1945-47), and Central Australia, Burke and Wills, and Drought works (1949-53).
What was supposed to be a fresh start in London instead saw Nolan paint more Kelly works, but in 1955 he was seeking inspiration. Accompanied by his wife, Cynthia, he travelled to Greece with the thought of exploring the mythology of the Trojan War and visited archaeological sites and museums in Athens and Delphi. In late November the couple went to Hydra as guests of their friends, the Australian authors George Johnston and Charmian Clift, who were living there. The plan was to stay a few weeks, but they did not leave Greece for another five months. As the Johnston's house was too small, Nolan and Cynthia moved into the seventeenth century mansion owned by the distinguished artist Nikos Hadjikyriakos-Ghikas while he was in Athens. The fortress-like house, set high above a rocky headland with beautiful views, was surrounded by a terraced garden of cacti, almonds, goats, and wildflowers. A contemporary article described their simple life: 'The Nolans lived for a few pounds a week, including wood for fires in winter. They generally had porridge for breakfast, bread, cheese and wine for lunch, and most evenings climbed down the hill to one of the village cafes.' When the weather permitted, Nolan painted outdoors within the garden walls.
Nolan's time in Greece was one of the most influential periods of his life. Besides the paintings made in Greece that are offered in this auction, it was the genesis of two significant series, Gallipoli and Leda and the Swan (Leda was the mother of Helen of Troy). Colin MacInnes, the author of the 1961 monograph on Nolan, considered that Greece was Nolan's 'true European hearth'. Throughout his career, Nolan's inspirations came from travel, literature, and poetry. On Hydra, he combined them all. He revelled in the rugged aesthetic of the island and its inhabitants and immersed himself in Homer's Iliad and Robert Graves' newly published The Greek Myths. Within days of arriving, Nolan began his Greek series with a frieze-like sequence of works painted in terracotta oil depicting Trojan War warriors in combat. As Johnston later wrote of these, Nolan associated 'the great Trojan epic tragedy with drought paintings he had done, with an Australian background of parched earth, dust, prickly vegetation, death, heat, bones in the dry burning of the sun'. He sensed 'a parallel, indeed a mutual poetry concerned with human struggle'. As weeks passed, the series developed and added Theseus and the Minotaur, Icarus, ancient theatre masks, and portraits of helmeted Homeric heroes.
In contrast, other works from the time depicted the contemporary world that Nolan observed daily: a priest in sunglasses, prickly pears and goats, cliff-top villages, and boats in the harbour. Visits to Mykonos, Delos, Santorini, Crete, and the Peloponnese linked the modern world to the ancient. MacInnes wrote, 'in Greece as it is and was, Nolan had found a familiar country, rich in myths, which pictorially, he tried to understand in order to create myths for his own people. The feeling of these Greek pictures is pre-classical, but the forms are those that he, like all European artists, has inherited from Classical Greece: it is the mood of the one civilisation, expressed in the forms of the other.'
At the end of his Greek sojourn, Nolan exhibited a group of Greek series works at the British School, Rome, during his residency there. Others he sent for exhibition at Macquarie Galleries, Sydney, where the National Gallery of Victoria immediately purchased four (they acquired two more later) and to a second exhibition at the Johnstone Gallery, Brisbane. However, most of the Greek paintings were kept by Nolan, and no less than twenty were included in his first major museum retrospective held at the prestigious Whitechapel Gallery, London, in 1957. In 2017 the exhibition Sidney Nolan: the Greek Series was held at the Hellenic Museum, Melbourne, and in 2021-22 numerous works from the series were included in the major exhibition Sidney Nolan: Myth Rider at TarraWarra Museum of Art, Victoria.
Nolan returned to Greece late in 1956 and again the following year. During his October 1957 trip, he visited Troy and Gallipoli, and at that moment, two wars separated by millennia began to merge in his mind. Works from Nolan's Greek series are included in the collections of the National Gallery of Australia, Canberra (2), National Gallery of Victoria, Melbourne (6), the Art Gallery of New South Wales, Sydney, and the Australian War Memorial, Canberra.
Hipkins Rolandview full entry
Reference: Roland Hipkins Artist Educator. By Michael Dunn. With illustrations and essay, an exhibition catalogue for this New Zealand artist 1894-1951, his work and his role as an educator
Publishing details: Hawkes Bay Museum and Art Gallery, 2005. 82p Oblong format Soft card covers with flaps
Ref: 1009
Heffernan Edwardview full entry
Reference: Women, women, women : paintings by Edward Heffernan, 1933-1988 : exhibition opened by the Hon. Ian Cathie MP, Minister for the Arts
Publishing details: Gryphon Gallery, 1988, [8] p
Ref: 1000
Heffernan Edward Bview full entry
Reference: The Linocuts of Edward B. Heffernan. Exhibition catalogue, VAS Galleries, Melbourne, 22-28 May, 1982
Publishing details: Jester Press, 1982, 12pp,
Ref: 36
Heffernan Edwardview full entry
Reference: In search of a sign : being a series of twelve linocuts based on the astrological signs using the female form with homage and humour / by Edward B. Heffernan. Thirteen b&w linocuts.
Publishing details: Jester Press, 1983 
1 portfolio : ill. Limited edition of 20
Ref: 1000
Duldig Karlview full entry
Reference: Sculptures and Drawings, exhibition catalogue 7-30 August, 2003. Illustrated.
Publishing details: VCA Galleries. 2003
Ref: 1000
Art behind the wireview full entry
Reference: Art behind the wire : the untold story of refugee families interned in Australia during the Second World War.
Curator: Stefan Damschke.
"In September, 1940 the Duldig family found themselves 'behind the wire'-internees far from their family in Europe, and new friends in Singapore. Designated 'enemy aliens' this sudden change in circumstance was a shock. Travelling from Singapore to Tatura Internment Camp 3D along with 295 other internees, mostly families, their story is one of resilience, ingenuity and persistence in the face of rigid official attitudes and initially negative public opinion. Their struggle for recognition as genuine refugees and how Karl Duldig's art was shaped by the experience is the subject of this exhibition, which focuses on drawings and sculpture completed in Tatura and while in the Army, as well as later work." -- Publisher's website.
Bibliography: page 24.
Publishing details: Glen Iris, Vic. : The Duldig Gallery Incorporated, 2014, 52 pages : illustrations, portraits
Ref: 1009
Duldig Karlview full entry
Reference: see Art behind the wire : the untold story of refugee families interned in Australia during the Second World War.
Curator: Stefan Damschke.
"In September, 1940 the Duldig family found themselves 'behind the wire'-internees far from their family in Europe, and new friends in Singapore. Designated 'enemy aliens' this sudden change in circumstance was a shock. Travelling from Singapore to Tatura Internment Camp 3D along with 295 other internees, mostly families, their story is one of resilience, ingenuity and persistence in the face of rigid official attitudes and initially negative public opinion. Their struggle for recognition as genuine refugees and how Karl Duldig's art was shaped by the experience is the subject of this exhibition, which focuses on drawings and sculpture completed in Tatura and while in the Army, as well as later work." -- Publisher's website.
Bibliography: page 24.
Publishing details: Glen Iris, Vic. : The Duldig Gallery Incorporated, 2014, 52 pages : illustrations, portraits
In Search of Paradise view full entry
Reference: In Search of Paradise - Artists & Writers in Colonial South Pacific, by Graeme Lay.
In this lavishly illustrated book, author Graeme Lay presents the lives of twenty-three of the finest artists and writers to have been inspired by the South Pacific, and a rich selection of their works. In Search of Paradise is a compilation of memorable visual and literary journeys, covering two hundred years of European contact with the South Pacific islands and the people who inhabited them at a unique period in the region's history. Among the art and writings included are: * The candid chronicles of Joseph Banks * Louis-Antoine de Bougainville's discovery of Tahitian free love * Herman Melville's very first fiction * Robert Louis Stevenson's life and death in Samoa * The radiant paintings of Paul Gauguin * Gottfried Lindauer's depiction of a presumed-dying Maori race * The love affair of Rupert Brooke's life * The inspiration for Somerset Maugham's best-kwn short story, and * The remarkable literary partnership of Charles Nordhoff and James Norman Hall.

Publishing details: Godwit, Random House New Zealand Ltd, 2008
Ref: 1000
Pacific artview full entry
Reference: see In Search of Paradise - Artists & Writers in Colonial South Pacific, by Graeme Lay.
In this lavishly illustrated book, author Graeme Lay presents the lives of twenty-three of the finest artists and writers to have been inspired by the South Pacific, and a rich selection of their works. In Search of Paradise is a compilation of memorable visual and literary journeys, covering two hundred years of European contact with the South Pacific islands and the people who inhabited them at a unique period in the region's history. Among the art and writings included are: * The candid chronicles of Joseph Banks * Louis-Antoine de Bougainville's discovery of Tahitian free love * Herman Melville's very first fiction * Robert Louis Stevenson's life and death in Samoa * The radiant paintings of Paul Gauguin * Gottfried Lindauer's depiction of a presumed-dying Maori race * The love affair of Rupert Brooke's life * The inspiration for Somerset Maugham's best-kwn short story, and * The remarkable literary partnership of Charles Nordhoff and James Norman Hall.

Publishing details: Godwit, Random House New Zealand Ltd, 2008
Oceanic artview full entry
Reference: see In Search of Paradise - Artists & Writers in Colonial South Pacific, by Graeme Lay.
In this lavishly illustrated book, author Graeme Lay presents the lives of twenty-three of the finest artists and writers to have been inspired by the South Pacific, and a rich selection of their works. In Search of Paradise is a compilation of memorable visual and literary journeys, covering two hundred years of European contact with the South Pacific islands and the people who inhabited them at a unique period in the region's history. Among the art and writings included are: * The candid chronicles of Joseph Banks * Louis-Antoine de Bougainville's discovery of Tahitian free love * Herman Melville's very first fiction * Robert Louis Stevenson's life and death in Samoa * The radiant paintings of Paul Gauguin * Gottfried Lindauer's depiction of a presumed-dying Maori race * The love affair of Rupert Brooke's life * The inspiration for Somerset Maugham's best-kwn short story, and * The remarkable literary partnership of Charles Nordhoff and James Norman Hall.

Publishing details: Godwit, Random House New Zealand Ltd, 2008
Clifford Samuelview full entry
Reference: see Sydney Rare Book Auctions 6 Feb 2023, Lot 608: Samuel Clifford 1850s Albumen Tasmanian Photographs.Two Photograph Albums. Both titled on the front covers Tasmanian Scenes S Clifford Photographer and with gilt decorations surrounding the title. One album is falling apart with no spine and the covers detached. The other is a good copy . The damaged album contains 96 original albumen photographs pasted onto boards with each board having two on the front and two on the rear. The photographs measure approximately 10 x 18 cm. The boards are foxed but the photographic images are clean and each photograph is captioned. The last two photos in the album are slightly damaged. 15 are of Mount Wellington and surrounds, 4 are from Port Arthur. The remainder are of Hobart Town and surrounds. The album in good condition contains 48 original albumen photographs. These are numbered below the photograph and inserted is a ink written paper with the title of each photograph. Samuel Clifford was a hardworking Tasmanian photographer born in the UK in 1827 who migrated to Tasmania in 1848 and died there in 1890. He was active as a photographer from 1851 until his death. Photographs taken between 1859 to 1870

Bridge Theview full entry
Reference: The Bridge / photographs by Robert Billington ; text by Sarah Billington; foreword by Giles Auty. Includes index.
Publishing details: Mount Kuring-Gai, N.S.W. : Peribo, 1999, 119 p. : ill.
Ref: 1000
Harbour Bridge view full entry
Reference: seeThe Bridge / photographs by Robert Billington ; text by Sarah Billington; foreword by Giles Auty. Includes index.
Publishing details: Mount Kuring-Gai, N.S.W. : Peribo, 1999, 119 p. : ill.
Sydney Harbour Bridge view full entry
Reference: seeThe Bridge / photographs by Robert Billington ; text by Sarah Billington; foreword by Giles Auty. Includes index.
Publishing details: Mount Kuring-Gai, N.S.W. : Peribo, 1999, 119 p. : ill.
Bondi - the sound of tumbling waterview full entry
Reference: Bondi : the sound of tumbling water / photographs and illustrations by Robert Billington

Publishing details: Bowral, N.S.W. : WriteLight, for Sparklehorse Publishing, 2006 
120 p. : ill. (some col.)
Ref: 1000
ROCK ART SITES OF KAKADU NATIONAL PARKview full entry
Reference: GILLESPIE, D. (Compiler) THE ROCK ART SITES OF KAKADU NATIONAL PARK. Some preliminary research findings for their conservation & management.
Publishing details: National Parks & Wildlife. 1983. Col. Ill.wrapps. 216pp. Col.& b/w ills. Edges sl.rubbed, else a Very Good copy. 1st ed. $38

Ref: 1000
Aboriginal artview full entry
Reference: GILLESPIE, D. (Compiler) THE ROCK ART SITES OF KAKADU NATIONAL PARK. Some preliminary research findings for their conservation & management.
Publishing details: National Parks & Wildlife. 1983. Col. Ill.wrapps. 216pp. Col.& b/w ills. Edges sl.rubbed, else a Very Good copy. 1st ed. $38

Aboriginal artview full entry
Reference: see The Sunrise of Aboriginal Art in Capricornia Country by Valerie Lhuede,


Publishing details: Valued Books; n.d., hardcover and dustwrapper 94 pages
Mombassa Regview full entry
Reference: CHRIS O’DOHERTY aka REG MOMBASSA. Hallucinatory Anthropomporphism: semi- abstract paraphysical manifestations of the collective unconscious. An exhibition. Tuesday 18th June until Saturday 6th July 2013. Watters Gallery, Exhibition Catalogue. New Zealand born Australian artist Chris O’Doherty is best known by his stage name of Reg Mombassa. When not making music with his band, Mental
As Anything, he paints & designs artworks.
Publishing details: Sydney. Syd. Watters Gallery. 2013. Col. Ill.wrapps. 50pp. Profusely illustrated.
Ref: 1000
Roots and moodsview full entry
Reference: Roots and moods : contemporary Aboriginal art, by Jurg Dahler, colour illustrations throughout, with captions in English; essay in German.
‘A substantial and well produced catalogue published to accompany an exhibition of paintings by contemporary Kimberley artists drawn exclusively from a private collection (that of musician Jürg Dähler?), held in Bad Ragaz, Switzerland in 2006, as part of the Bündner Herrschaft autumn cultural festival. The catalogue illustrates well over 50 works by Queenie McKenzie, Paddy Bedford, Freddie Timms, Rover Thomas, Nancy Noonju, Jock Mosquito, Rusty Peters, Henry Wambiny, Mabel Juli, Madigan Thomas, Goody Barrett, Nellie Gordon, Peggy Patrick, Yvonne Newly, Colleen Carter, June Peters, Shirley Purdie, and Phyllis Ningamara.
Trove locates no copies in Australian collections.’
Publishing details: Winterthur, Switzerland : TonART, 2006. Quarto (260 x 205 mm), pictorial wrappers, 143 pp,
Ref: 1000
Feint Adrianview full entry
Reference: The Clune Bookplates. [’The rarest of Adrian Feint books bar Bookplate 100, limited to only 6 copies.’]
Publishing details: Sydney : Palmtree Press, 1932. Quarto, decorated green card wrappers (lightly foxed), 20pp. hand stitched, five original woodcut and etched bookplates tipped-in, each signed by the artist, plus two tipped-in woodcut print designs,
Ref: 1000
Morris Ethel Jacksonview full entry
Reference: see Douglas Sterwart Fine Books, Feb., 2023:
A fine collection of original works by the talented artistColour country : art from Roper River Ethel Jackson Morris, circa 1910 – 1920.
1. [Maiden floating on water]. Pencil on paper, 160 x 200 mm, unsigned, framed.
2. [Seated princess with long dress and crown]. Pencil on paper, 260 x 180 mm, signed lower left and dated 1911(?), framed.
3. [Three child choristers seated on toadstools]. Pencil on paper, 180 x 190 mm, unsigned, framed.
4. [Maiden with long hair and long dress]. Pencil on paper, 135 x 140 mm, unsigned, framed.
5. [Maiden holding a shield]. Pencil on paper, 165 x 115 mm, unsigned, framed.
6. [Roundel of a girl in crinoline dress with bonnet]. Ink and wash on paper, 155 mm in diameter, unsigned, framed.
7. [Unfinished sketch of a girl in chiffon dress]. Pencil on paper, 175 x 100 mm, unsigned, old creases and marks, framed.
8. [Preparatory sketch of a girl in chiffon dress]. Pencil on paper, 155 x 60 mm, unsigned, marks, framed.
9. [Two girls darning a fabric]. Pencil on paper, 90 x 125 mm, unsigned, framed.
10. [An old woman in following dress, in the manner of Arthur Rackham]. Ink and wash on paper, 200 x 115 mm, unsigned, framed.
11. [Unfinished watercolour of a girl by moonlight in black and yellow dress]. Ink and wash on paper, 185 x 160 mm, unsigned, framed.
The Australian artist Ethel Jackson Morris (1891-1985) worked as a fairy illustrator, in the tradition of her contemporary Ida Rentoul Outhwaite, to whose work her own bears a strong resemblance. She was part of the first group of Australian women artists to successfully pursue a professional career. This new women’s movement in the arts was centred in Melbourne at the beginning of the twentieth century. Ethel Jackson Morris worked at the National Gallery School alongside artists such as Margaret Preston and Hilda Rix Nicholas. Some of these pioneering women artists continued to work in mainstream areas while others – the majority – chose alternative means of artistic expression such a printmaking or book illustration. Jackson Morris did travel to London, where she pursued studies at the Royal College of Art, but returned to Sydney by 1923. She exhibited there just once, with the Society of Artists in 1929, but married soon after and subsequently retreated from her artistic life (Hordern House, Women in Australia and the Pacific, March 2011). Her career has remained unchronicled since the 1920s and most of her output has been stored away for more than 50 years (Holden. A Golden Age; Visions of Fantasy, p. 56).
“Ethel Morris Jackson published her first book ‘All among the fairies’ in 1909. The publication was underwritten by her father, James Jackson Morris. The family owned several properties including a successful Jersey stud at Clarendon Eyre, a well-known property in Bulleen near the Yarra River, and Morris Jackson’s childhood home, also called Clarendon Eyre, in Malvern” (State Library of Victoria). The original drawings for ‘All among the fairies’, ‘The White Butterfly’ (1921) and other drawings of elves and fairies are held in the collection of the Museum of Australian Childhood, now transferred to the State Library of New South Wales.
Rare and charming works by a significant Australian woman artist.
Provenance:
the estate of the artist
Warwick Reeder Fine Art, Melbourne
Private collection, Melbourne

Parsons Collectionview full entry
Reference: The Parsons Collection: Rare Pacific Voyage Books from the Collection of David Parsons (Part I: Dampier to Cook) [to be indexed]

Publishing details: Hordern House
Sydney: Hordern House, 2005.
First Edition.

28cm x 22cm. [128] pages, colour illustrations. Blue cloth, silver lettering, illustrated jacket.
Ref: 1000
Storrier Timview full entry
Reference: Voyager - Tim Storrier
Exhibition catalogue. Invitation and price list laid in.

Publishing details: Brisbane: Philip Bacon Galleries, 2022.
First Edition.

21cm x 30cm. 24 pages, colour illustrations. Illustrated saddle-stapled wrappers.

Ref: 1000
Dream tracesview full entry
Reference: Dream traces : a celebration of contemporary Australian Aboriginal art
/ edited and with an introductory essay by Michael Tucker, with contributions by Nevill Drury, Kevin Gilbert, Rebecca Hossack, Pat Lowe, Will Stubbs, Anna Voigt, Kath Walker and Herb Wharton.
Publishing details: Brighton, U.K. : University of Brighton, 2003. Quarto (270 x 215 mm), pictorial stiff wrappers with French flaps, 95 pp., illustrated in colour;
Ref: 1000
Aboriginal artview full entry
Reference: see Dream traces : a celebration of contemporary Australian Aboriginal art
/ edited and with an introductory essay by Michael Tucker, with contributions by Nevill Drury, Kevin Gilbert, Rebecca Hossack, Pat Lowe, Will Stubbs, Anna Voigt, Kath Walker and Herb Wharton.
Publishing details: Brighton, U.K. : University of Brighton, 2003. Quarto (270 x 215 mm), pictorial stiff wrappers with French flaps, 95 pp., illustrated in colour;
Paintings from remote communitiesview full entry
Reference: Paintings from remote communities : Indigenous Australian art from the Laverty Collection, Sydney, 15 December 2007 – 24 February 2008, foreword by Rhana Devenport, curator, and essay by Will Owen; a fine copy. Scarce catalogue for a Trans-Tasman exhibition of works from Northwest Western Australia, Arnhem Land and Central Australia
Publishing details: New Plymouth, NZ : Govett-Brewster Art Gallery, 2007. Octavo (210 mm), printed wrappers, stapled, pp. 22, illustrated with 4 colour plates, map;
Ref: 1000
Aboriginal artview full entry
Reference: see Paintings from remote communities : Indigenous Australian art from the Laverty Collection, Sydney, 15 December 2007 – 24 February 2008, foreword by Rhana Devenport, curator, and essay by Will Owen; a fine copy. Scarce catalogue for a Trans-Tasman exhibition of works from Northwest Western Australia, Arnhem Land and Central Australia
Publishing details: New Plymouth, NZ : Govett-Brewster Art Gallery, 2007. Octavo (210 mm), printed wrappers, stapled, pp. 22, illustrated with 4 colour plates, map;
Groundworkview full entry
Reference: Groundwork : Janangoo Butcher Cherel, Mick Jawalji, Rammey Ramsey, catalogue produced in conjunction with an exhibition showcasing the work of three important Kimberley artists.
Publishing details: Melbourne : The Ian Potter Museum of Art, 2011. Exhibition catalogue. Octavo (210 x 145 mm), pictorial wrappers, pp. 36, colour illustrations
Ref: 1000
Aboriginal artview full entry
Reference: see Groundwork : Janangoo Butcher Cherel, Mick Jawalji, Rammey Ramsey, catalogue produced in conjunction with an exhibition showcasing the work of three important Kimberley artists.
Publishing details: Melbourne : The Ian Potter Museum of Art, 2011. Exhibition catalogue. Octavo (210 x 145 mm), pictorial wrappers, pp. 36, colour illustrations
spectre of Truganiniview full entry
Reference: The spectre of Truganini, by Bernard Smith
Cover: 1980 Boyer Lectures.
Publishing details: Sydney : Australian Broadcasting Commission, [1980]. Octavo, trade paperback, 56 pp.,
Ref: 1000
Art without epoch view full entry
Reference: Art without epoch : an exhibition of overseas loan works exhibited by the Contemporary Art Society of N.S.W. catalogue of 187 works, illustrations by Francis Limburger, Cedric Flower, Desiderius Orban, Douglas Annand, Pena annotations and small sketches, one page with errata laid over the lower half. Includes works by Maillol, Vlaminck, Braque, Ben Nicholson, Klee, Feininger, Henry Moore, John Piper, Leger, Rail Dufy, Christopher Wood, Signac, Francis Hodgkins, Kokoschka, Boudin, Epstein, Modigliani, Manet, Conder, Paul Nash, Constable, Tenier, Gainsborough, Rembrandt, Courbet, Claude Lorraine, Turner, Van Gogh, Daumier and other masters.

Publishing details: Sydney : Contemporary Art Society of N.S.W., [1950]. Quarto, illustrated wrappers, by Cedric Flower, edges rubbed, foreword by Paul Haefliger, pp. [16],
Ref: 1000
Contemporary Art Society exhibitionview full entry
Reference: see Art without epoch : an exhibition of overseas loan works exhibited by the Contemporary Art Society of N.S.W. catalogue of 187 works, illustrations by Francis Limburger, Cedric Flower, Desiderius Orban, Douglas Annand, Pena annotations and small sketches, one page with errata laid over the lower half. Includes works by Maillol, Vlaminck, Braque, Ben Nicholson, Klee, Feininger, Henry Moore, John Piper, Leger, Rail Dufy, Christopher Wood, Signac, Francis Hodgkins, Kokoschka, Boudin, Epstein, Modigliani, Manet, Conder, Paul Nash, Constable, Tenier, Gainsborough, Rembrandt, Courbet, Claude Lorraine, Turner, Van Gogh, Daumier and other masters.

Publishing details: Sydney : Contemporary Art Society of N.S.W., [1950]. Quarto, illustrated wrappers, by Cedric Flower, edges rubbed, foreword by Paul Haefliger, pp. [16],
Ralph Arthur Jview full entry
Reference: The Grampians : a series of pictures illustrating that popular Victori, from photographs by Arthur J. Relph ; with an introduction by Edward E. Pescott. photographically illustrated
an tourist resort

Publishing details: Melbourne : Whitcomb & Tombs, circa 1920. Quarto, illustrated wrappers (lightly toned, slightly silverfished), pp. [28],
Ref: 1000
Lucas Cliveview full entry
Reference: see Australian Country Houses - Homesteads, Farmsteads and Rural Retreats, by Clive Lucas& Joyce Ray
Publishing details: Lansowne Press, 1987, hc, dw
Ray Joyceview full entry
Reference: see Australian Country Houses - Homesteads, Farmsteads and Rural Retreats, by Clive Lucas& Joyce Ray
Publishing details: Lansowne Press, 1987, hc, dw
architectureview full entry
Reference: see Australian Country Houses - Homesteads, Farmsteads and Rural Retreats, by Clive Lucas& Joyce Ray
Publishing details: Lansowne Press, 1987, hc, dw
Glowacki Wolfgangview full entry
Reference: Artscapes by Wolfgang Glowacki.
Artscapes is the long awaited book by Wolfgang Glowacki and is a stunning collection of Tasmanian photography taken over the last five years.
The art series book is hard covered and has 96 pages and contains over 100 of Wolfgang's best photographs as well as some previously unreleased works.
The photographs has been stunningly reproduced in full colour using state of the art six colour press and are further enhanced by the beautiful writings of Tasmanian writer Amanda Kay.
Artscapes by Wolfgang Glowacki
Foreword
For the pleasure of the soul, there are moments captured, of a land, a mystical land. This isle of Tasmania. It's diverse life and ranging landscapes speak to the heart, to those that hear the whisper in the trees, to anyone that notices the sparkle on the leaves. Embark on a journey, and let these pages of imagery inspire you. Five years roaming this beautiful island, many a cold morning through wind and rain. Listening, waiting for these moments. The crashing of waves, the shimmer of light, the flow, the ebb of life. The beating of this land, it's beauty found dancing in the sand, through the caves and upon the rocks. To find the art of the universe, let nature speak, the rotting leaf creates a web of intricate shapes. The mind wanders into dreamtime, it hears the story of a leaf, once lived green within the forest. Slowly ever so slowly after it's gracious surrender. It accepts the forest floor, it sits in green, then slowly to brown. It dissolves, nourishing the soil. Forever a part of life. To passers by it may be missed. To an artist eye it's layers are captured in time.
Publishing details: Hobart, Tas. : W. Glowacki, 2008 
96 p. : col. ill.
Ref: 1000
Bailey Kevinview full entry
Reference: Kev - the Last Laugh, cartoons by Kevin Baiuley, commentary by Mike Bingham. {Kevin Bailey was cartoonist on the Hobart Mercury]
Publishing details: publishing details to be entered]
Ref: 1000
Curtis Davidview full entry
Reference: Dazed by dieback by David Curtis.
Dazed by Dieback by David Curtis tells the story of New England Dieback and the efforts of scientists and farmers to reverse it. It is a humorous tale charting the explorations of its unlikely heroes Barry, Fay and Warren Streuth, as they uncover the causes of dieback and what can be done to reverse it. Whilst set in the New England, it has relevance to all agricultural regions of Australia where rural dieback is prevalent. The book is a comic book of 70 pages in length and will appeal to all ages. The story has an environmental education function, but is funny and entertaining at the same time.--Website.
Dr David Curtis is Adjunct Research Fellow at the Institute of Rural Futures, University of New England. He has over 30 years of practical and theoretical experience of revegetation, farm forestry, landcare and conservation in rural and urban areas in Australia. His career has included work as a national and regional manager, university lecturer, environmental educator, researcher and policy adviser in the non-government, university and public sectors. His ecological research included a 10-year study into the regeneration and rehabilitation of ecosystems impacted by rural dieback. His trans-disciplinary sociology research through the Institute of Rural Futures and the School of Ecosystem Management at UNE examined the role that the arts have in shaping environmental attitudes and behaviours. He found that the arts could significantly affect environmental attitudes through aiding in the communication of environmental information, creating empathy for the natural environment, and catalysing ecological sustainability. He has organised several large community arts events and is founder, and current president, of EcoArts Australis Inc., a group dedicated to using the arts to further environmental sustainability. He is currently writing a book with three colleagues on New England Dieback and the community's response to it.

Publishing details: David Curtis, 2017, 70pp
Ref: 1000
Duncan Kenview full entry
Reference: Spectacular Sydney : magnificent panoramic views of Sydney / [photographs by Ken Duncan]

Publishing details: Wamberal, N.S.W. : Ken Duncan Panographs, 1992 
84 p. : col. ill.
Ref: 1000
Delightfully Decoview full entry
Reference: Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Decoview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Art Decoview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Fielder Thomas Richard bricklayer 1905-97view full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Castlemaine Art Galleryview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
bakelite radiosview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
radios bakelite view full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
cameras art decoview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Home Beautifulview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Australian Home Beautifulview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Syme Evelynview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Dupain Max in Alburyview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Modern Ceramic Products Sydneyview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Mel-Rose Australian Waresview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Melrose Australian Wares Mel-Roseview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Northfield James postersview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Proctor Theaview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Spowers Ethelview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Waller Christianview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Waller Napierview full entry
Reference: see Delightfully Deco, Exhibition catalogue: 9 July - 9 October 2011, Organising authors: Tracey Judd Iva and Robin Grow.
Delightfully Deco is a landmark exhibition for the region, being the first to combine the resources of the Library Museum and the Art Gallery to provide a cohesive themed exhibition across the two venues for an extended period.
Publishing details: Albury, NSW : Albury City Council, 2011, 100 p. : iil.
Webb Richard Kenton view full entry
Reference: Landscape as Discourse - Richard Kenton Webb
Publishing details: Landscape Art Research Queenstown, 2015 - Landscapes in art - 35 pages
Ref: 1000
TWhidborne Terry view full entry
Reference: Faeries of Tasmania / collected sightings by Lady Plummage
Exquisitely illustrated, beautifully written, sumptuous production qualities (cloth-covered hardback with dust jacket) - a book to be treasured. 
Lady Plummage often walks through her gardens with Winston, her West Highland terrier, collecting fruit from quince, walnut and mulberry trees, in preparation for a day in the kitchen. 
But something is always on her mind, the possibility of seeing a faery. 
This book takes a glimpse into her world, her collection and showcases a select few of her interviews from other faery witness in Tasmania. 

Publishing details: Terry Whidborne, [2022] 
©2022 
1 volume (unpaged) : illustrations (some colour), maps, portraits, (hardback
Ref: 1000
TWhidborne Terry view full entry
Reference: The curious dictionary / Nick Earls & Terry Whidborne illustrator

Publishing details:
St Lucia, Qld. : University of Queensland Press, 2012
Ref: 1000
Angus Maxview full entry
Reference: A Salute to Max Angus, by Alison Alexander. Annotation. From humble beginnings as an apprentice signwriter duringthe Depression, Max Angus worked hard to leave commercialart behind and become a successful watercolour painter. In the process he made himself a household name in Tasmania. And as his very long life drew to a close - not many artists are still holding exhibitions at age 100 - he was acknowledged as a living treasure. Success like this might have been enough for another man, but Max's passions took him beyond his art practice to publish books on the art of watercolour, and share his painterly skills with students in the beautiful Tasmanian landscape. It was his love for the landscape that led him to try his utmost to save Lake Pedder from destruction, alongside his great friend, wilderness photographer Olegas Truchanas. To further awaken the world to the threats to the Tasmanian environment, he published The World of Olegas Truchanas after his friend's death, and later, Pedder. The story. The paintings. Rich in detail and drawing on the memories of Max's family and friends, this book brings together all the facets of his life, and in doing so, illustrates Tasmania's social history over the century that Max's life spanned. Lively, generous, articulate - and eternally dapper in his trademark beret - Max was a force for good in Tasmanian society. He has left many reminders of his life: the public art; the books he published; the environmental conservation movement that he helped to initiate; his many students who remember him with great fondness. But most of all, the paintings.
Notes includes bibliography (pages 242-243) and index.

Publishing details: Hobart, Tasmania : Forty South Publishing, 2021 
248 pages : illustrations (chiefly colour) ;
Ref: 1000
Hobba Leigh view full entry
Reference: Leigh Hobba : the space of presence
by Leigh Hobba, "... the first major survey exhibition of one of Australia's most highly regarded video and performance, installation and sound artists. Employing the rich thematic arc of Tasmanian landscapes in video and sound ..." -- Foreword.
Notes Essay authors, Jonathan Holmes and Jeff Malpas.
Catalogue of an exhibition held at the Tasmanian Museum and Art Gallery, 15th March - 29th April, 2007.
Includes exhibition list and bibliography.

Publishing details: Tasmanian Museum and Art Gallery, 2007, 1 v. : ill. (some col.), music
Hand made in Tasmania view full entry
Reference: Hand made in Tasmania / Steven French

• Ben Kurczok, kaleidoscope maker
• John Hounslow, knife maker
• Emma Colbeck, button maker
• Joanna Gair, paper maker
• Rex Heathcote, furniture designer
• Kate Case, jeweller
• Judy Stone, leather artist
• Nick Stranger, surf board maker
• Melanie Honor-Clarke, jeweller
• Willie Simpson, brewer and cider maker
• Michael Reeve, wood carver
• Dawn Oakford, ceramicist
• Luna Newby, shoe maker
• Debbie Reynolds, basket weaver
• James Dodson -glass blower
• Rick Allen, saddler
• Nick Haddow, cheese maker
• Leonie Struthers, fashion designer
• Denis Carey, book binder
• Jude Maisch, felt maker
• Merinda Young, glass artist
• Ella Knight, jeweller
• Carolyn Audet, mixed media artist
• Angela Griffiths, furnishings designer
• Yves Ginat, bee keeper
• Steve Blakeney, furniture designer/maker
• Daniel Brauchli, luthier
• - Ned Trewartha, boat builder
• Richard Levett, landing net maker
• John Watson, ceramicist
• Susie McMahon, doll maker
• Rebecca Coote, glass installation artist
• Simon Martin, whip maker
• Tony Schearer, grape grower
• Patrick Maguire, whisky distiller
• John Cole, Cider maker, vigneron distiller
• Susan McArthur, milliner
• John Robertson, leadlighter
• Andrew Thom, harp and cello maker.
Publishing details: Launceston, Tas. : Stevens Publishing, 2010, xii, 119 p. : col. ill., ports.
Ref: 1000
Brassington Pat view full entry
Reference: Anxious bodies / Pat Brassington, Jane Burton, Jane Eisemann. Curated by Natasha Bullock.
Catalogue of an exhibition held at the Art Gallery of New South Wales, 30 March - 18 May 2003.
"AGNSW Contemporary Projects".

Publishing details: Sydney : Art Gallery of New South Wales, c2003 
1 folded sheet ([6] p.) : ill. (chiefly col.)
Ref: 1000
Brassington Pat view full entry
Reference: This is not a love song : project room: Pat Brassington / [project curators: Zara Stanhope and Natalie King]
Publishing details: Clayton, Vic. : Monash University Gallery, 1996 
24 p. : ill. ; 15 cm. 
ISBN 0732611083
Notes "Edition 500"-
Ref: 1000
Ancher Johnview full entry
Reference: Pageant of the harlequin trees : forest poetry in images and words / John Ancher

Publishing details: Hobart, [Tasmania] : Monotone Art Pinters, 2019 
©2019 
74 pages : colour illustrations ;
Ref: 1000
Kirkpatrick Jamieview full entry
Reference: Art by nature / by Jamie Kirkpatrick
Publishing details: Hobart, Tas : Bright South for De Press Inc, 2019, 63 pages : colour illustrations
Ref: 1000
Nettlefold Sueview full entry
Reference: Tasmanian paintings. Vol. 1 / Sue Nettlefold. "Featuring the world, works and words of Tasmanian artist Sue Nettlefold. Sue lives on the East Coast of Tasmania and often tramps the remote and beautiful coastal areas capturing in drawing, painting and photography this still pristine coastal region which has at its heart Maria Island, an early 19th century penal colony and now a renowned National Park"--Back cover.
Publishing details: [Clontarf, N.S.W.] : Media Publishing eBooks [for S. Nettlefold], 2012 
68 p. : ill. (chiefly col.) ;
Ref: 1000
Parsons Nolaview full entry
Reference: Drawn to the Mountain : a kunanyi/Mt Wellington sketchbook / Nola Parsons
"'Nola has presented us with a wonderful collection of watercolours and drawings, based on her love of kunanyi/Mt Wellington, looking at the mountain from different perspectives.Nola has displayed a beautiful sensitivity in her watercolours and a strength of drawing in her pen and ink sketches.This truly is a book to be treasured.' Terrence Gough OAM"--Back cover.
Publishing details: Hobart, Tasmania : Forty South Publishing, [2022] 
©2022 
46 unnumbered pages : colour illustrations
Ref: 1000
Winnowing of the Grain view full entry
Reference: The Winnowing of the Grain - Art & Craft magazines in Australia 1963 - 1996 (to be indexed)
Publishing details: Carlton Street Press, Hobart, 2006
Criticising the Criticsview full entry
Reference: Criticising the Critics, Art and Craft Criticism and Art and Craft History in Australia, Post 1950, by Michael Denholm. {To be indexed]

Of Australian art critics, some have been extremely influential, most notably, Bernard Smith, the 'father figure' of Australian art, and Robert Hughes, who went on to achieve international renown after writing a history of Australian art. Yet despite the impact of these critics, very little if anything has been written about their impact on Australia other than studies on Bernard Smith's life and writing and studies of Robert Hughes and Elwyn Lynn.
Publishing details: North Hobart, Tasmania : Carlton Street Press, 2016 
2 volumes
Ref: 1000
Art Bulletin of Tasmaniaview full entry
Reference: The Art Bulletin of Tasmania, edited by Hendrik Kolenberg
Publishing details: 1984
Ref: 6
Glover John 1832 sketchbookview full entry
Reference: The Art Bulletin of Tasmania, edited by Hendrik Kolenberg. ‘Hobart 1832 - Glover’s Sketchbook’ by Hendrik Kolenberg
Publishing details: 1984
Prout John Skinner in Tasmania 1844-8view full entry
Reference: The Art Bulletin of Tasmania, edited by Hendrik Kolenberg. ‘John Skinner Prout - his Tasmanian sojourn 1844-1848’ by A. V. Brown
Publishing details: 1984
Fairweather Ian view full entry
Reference: The Art Bulletin of Tasmania, edited by Hendrik Kolenberg. ‘A figure painting by Ian Fairweather - some misapprehensions. by Robert Smith
Publishing details: 1984
Moments in time view full entry
Reference: Moments in time : a book of Australian postcards, by Jim Davidson Includes bibliographical references (page 207)
Publishing details: NLA Publishing, 2016],
207 pages : illustrations (some colour), portraits (some colour), facsimiles (some colour) (paperback)
postcardsview full entry
Reference: see Moments in time : a book of Australian postcards, by Jim Davidson Includes bibliographical references (page 207)
Publishing details: NLA Publishing, 2016],
207 pages : illustrations (some colour), portraits (some colour), facsimiles (some colour) (paperback)
Boynes Robertview full entry
Reference: An uncompromising moralist : the art, life and times of Robert Boynes / Michael Denholm. With index.
Praised, late in the 1980's, by the eminent Australian art historian Bernard Smith, for his art 'being among the most authentic and impressive being painted by an Australian today' directing our 'imagination and its foreboding, powerfully and without equivocation to the central, and now pressing, paradox of modernity, is humanity destined to foul its own nest fatally?', Robert Boynes is undoubtedly one of Australia's major artists. This book tells the story of his art and life, including his involvement in the Progressive Art Movement in Adelaide during the tempestuous Vietnam Years, the Presidency of Richard Nixon in the United States of America, and Watergate, linking the story of his art to the major issues of the times he has lived in, including the environmental crisis facing humanity in the twenty first century and the truly awful problem of homelessness.
Full contents • 1. Childhood and early career
• 2. An English interlude
• 3. Return to Australia
• 4. Involvement in politics, the Progressive Art Movement
• 5. Canberra
• 6. The concern with the monumental
• Chronology.
 Includes bibliographical references (pages 137-154) and index.

Publishing details: Hobart, Tasmania : Carlton Street Press, 2020, 
iv, 180 pages
Bainton Diana numerous referencesview full entry
Reference: see An uncompromising moralist : the art, life and times of Robert Boynes / Michael Denholm. With index.
Praised, late in the 1980's, by the eminent Australian art historian Bernard Smith, for his art 'being among the most authentic and impressive being painted by an Australian today' directing our 'imagination and its foreboding, powerfully and without equivocation to the central, and now pressing, paradox of modernity, is humanity destined to foul its own nest fatally?', Robert Boynes is undoubtedly one of Australia's major artists. This book tells the story of his art and life, including his involvement in the Progressive Art Movement in Adelaide during the tempestuous Vietnam Years, the Presidency of Richard Nixon in the United States of America, and Watergate, linking the story of his art to the major issues of the times he has lived in, including the environmental crisis facing humanity in the twenty first century and the truly awful problem of homelessness.
Full contents • 1. Childhood and early career
• 2. An English interlude
• 3. Return to Australia
• 4. Involvement in politics, the Progressive Art Movement
• 5. Canberra
• 6. The concern with the monumental
• Chronology.
 Includes bibliographical references (pages 137-154) and index.

Publishing details: Hobart, Tasmania : Carlton Street Press, 2020, 
iv, 180 pages
Ball Sydney numerous referencesview full entry
Reference: see An uncompromising moralist : the art, life and times of Robert Boynes / Michael Denholm. With index.
Praised, late in the 1980's, by the eminent Australian art historian Bernard Smith, for his art 'being among the most authentic and impressive being painted by an Australian today' directing our 'imagination and its foreboding, powerfully and without equivocation to the central, and now pressing, paradox of modernity, is humanity destined to foul its own nest fatally?', Robert Boynes is undoubtedly one of Australia's major artists. This book tells the story of his art and life, including his involvement in the Progressive Art Movement in Adelaide during the tempestuous Vietnam Years, the Presidency of Richard Nixon in the United States of America, and Watergate, linking the story of his art to the major issues of the times he has lived in, including the environmental crisis facing humanity in the twenty first century and the truly awful problem of homelessness.
Full contents • 1. Childhood and early career
• 2. An English interlude
• 3. Return to Australia
• 4. Involvement in politics, the Progressive Art Movement
• 5. Canberra
• 6. The concern with the monumental
• Chronology.
 Includes bibliographical references (pages 137-154) and index.

Publishing details: Hobart, Tasmania : Carlton Street Press, 2020, 
iv, 180 pages
Beadle Paul 4 referencesview full entry
Reference: see An uncompromising moralist : the art, life and times of Robert Boynes / Michael Denholm. With index.
Praised, late in the 1980's, by the eminent Australian art historian Bernard Smith, for his art 'being among the most authentic and impressive being painted by an Australian today' directing our 'imagination and its foreboding, powerfully and without equivocation to the central, and now pressing, paradox of modernity, is humanity destined to foul its own nest fatally?', Robert Boynes is undoubtedly one of Australia's major artists. This book tells the story of his art and life, including his involvement in the Progressive Art Movement in Adelaide during the tempestuous Vietnam Years, the Presidency of Richard Nixon in the United States of America, and Watergate, linking the story of his art to the major issues of the times he has lived in, including the environmental crisis facing humanity in the twenty first century and the truly awful problem of homelessness.
Full contents • 1. Childhood and early career
• 2. An English interlude
• 3. Return to Australia
• 4. Involvement in politics, the Progressive Art Movement
• 5. Canberra
• 6. The concern with the monumental
• Chronology.
 Includes bibliographical references (pages 137-154) and index.

Publishing details: Hobart, Tasmania : Carlton Street Press, 2020, 
iv, 180 pages


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