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

Charvet Jean-Gabriel view full entry

Reference: see Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia, by Nicola Jan Dickson. Dissertation presented in partial fulfilment of the requirements of the Doctor of Philosophy, Research School of Humanities and the Arts
School of Art, ANU
Publishing details: ANU, c2010 [may be available online]

Dufour Joseph view full entry

Reference: see Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia, by Nicola Jan Dickson. Dissertation presented in partial fulfilment of the requirements of the Doctor of Philosophy, Research School of Humanities and the Arts
School of Art, ANU
Publishing details: ANU, c2010 [may be available online]

Phelippeaux Antoine engravingview full entry

Reference: see Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia, by Nicola Jan Dickson. Dissertation presented in partial fulfilment of the requirements of the Doctor of Philosophy, Research School of Humanities and the Arts
School of Art, ANU
Publishing details: ANU, c2010 [may be available online]

Aubert L engravingview full entry

Reference: see Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia, by Nicola Jan Dickson. Dissertation presented in partial fulfilment of the requirements of the Doctor of Philosophy, Research School of Humanities and the Arts
School of Art, ANU
Publishing details: ANU, c2010 [may be available online]

Wendt J M Silver and emu egg presentation inkstandview full entry

Reference: see Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia, by Nicola Jan Dickson. Dissertation presented in partial fulfilment of the requirements of the Doctor of Philosophy, Research School of Humanities and the Arts
School of Art, ANU
Publishing details: ANU, c2010 [may be available online]

Henry Lucien - Sternocarpus panel and Dado Design, c. 1889view full entry

Reference: see Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia, by Nicola Jan Dickson. Dissertation presented in partial fulfilment of the requirements of the Doctor of Philosophy, Research School of Humanities and the Arts
School of Art, ANU
Publishing details: ANU, c2010 [may be available online]

Gilkes Factoryview full entry

Reference: see Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia, by Nicola Jan Dickson. Dissertation presented in partial fulfilment of the requirements of the Doctor of Philosophy, Research School of Humanities and the Arts
School of Art, ANU
Publishing details: ANU, c2010 [may be available online]

Refracted Vision - Nineteenth Century Photography in the Pacificview full entry

Reference: Refracted Vision - Nineteenth Century Photography in the Pacific, by Geoffrey Barker. (MA Thesis).
This thesis provides an overview of general trends in the development of photography in the
Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century.
Attempting a general work on this subject may be felt to be merely reiterating current knowledge
but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Acland, W. A. D. Captain Active 1883 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Photography in the Pacificview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, by Geoffrey Barker. (MA Thesis).
This thesis provides an overview of general trends in the development of photography in the
Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century.
Attempting a general work on this subject may be felt to be merely reiterating current knowledge
but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Pacific images - photographyview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, by Geoffrey Barker. (MA Thesis).
This thesis provides an overview of general trends in the development of photography in the
Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century.
Attempting a general work on this subject may be felt to be merely reiterating current knowledge
but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Andrew, Thomas 1855-1939 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Ansdell, Gerrard Active about 1881 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Ansdell, Gerrard view full entry

Reference: A Trip to the Highlands of Viti Levu,1882, by Gerrard Ansdell, with photographs by the author.
Ref: 1000

Antonio, Frere Active around 1890 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Armand Leon active about 1856 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Bailley, Henry Hall biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Balfour G biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Beattie J W biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Bell George active c1890 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Bevan, Theodore active 1884-1888 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Bice, Rev. Charles active about 1885 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Boake, Barcroft Capel active about 1879 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Bourdais, Eugene active about 1858 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Brown, Rev. George active 1875 to 1905 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Burton Brothers active 1856 to 1898 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Cambridge and Torres Strait Island Expedition info and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Candelot, Albert active about 1865 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Chapuy, Andre active about 1865 biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Cherry, George biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Cusack-Smith, Sir Thomas Berry biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

David, Paula biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

David Tannatt Wiliam Edgeworth biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Davis J biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Dufty, Francis Herbert biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Dyer, Augustine biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Espiegle HMS Photographers referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Fellows, Rev. S B biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Goode, Bemard biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Gray, Rev. William biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

De Greslan, Evenor biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Haddon, Alfred Cort biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Hedemann, Christian J.biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Hoare, Mrs. S. biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Hughan, Allan Ramsay Cunningham biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Itier, Alphonse-Eugene-Jules biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Kerr, Henry biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Kerry, Charles biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

King Henry biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Kubary J. S. biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Lawes, Rev. William George biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Lawrie, Rev. James Hay biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Lindt, John William (1845-1926) biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Martin, Josiah biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Miot, Paul Emile biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Montgomery, Bishop H. H. biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Moresby, Matthew Fortescue biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Newland,J W. biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Neuhan, Dr. biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

North, Frederick biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Onslow, Arthur Alexander Walton biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Paine John HMS Espiegle photographerview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Phillips ? HMS Espiegle photographerview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Perry ? HMS Espiegle photographerview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Potteau, Philippe biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Seligman, Charles G biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Shaw,James H biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Smith, G biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Somerville Boyle T biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Still, Rev. J biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Strong, Joseph biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Tattersall Alfred John biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Thurston, John Bates biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Waiter, Carl (Charles)biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Witkin, Anthony biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Witson, James Glen biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Woodford, Charles Morris biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Wortley, Colonel Stuart biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Field, Henry? biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Glenny, Henry? biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Harrison, J. Park biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Hart, E. biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Hore, Edward biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Hutchinson, John biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Huxley, Thomas Henry biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

McCormick, Rohert biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Montefiore, Octavius Levi biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Moss, F rederick J biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Peace, James biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Pulrnan, Elizabeth and George biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Rowell, Wilfred biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Gaul, John ? biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Bowden Collection photographs Macleay Museumview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Bums Philp and Company Collection photographsview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Bums Philp and Company Collection photographsview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Chanter, Thomas Scott biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Curacoa HMS Photographer biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Goldfinch, Henry biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Hope, Captain Charles, W biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Huegel, Baron Anatole von biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Macarthur Family Album biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Maritime Museum Album biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Ross, Malcolm biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Wawn, William, T. biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Wood, C. F. biography and referencesview full entry

Reference: see Refracted Vision - Nineteenth Century Photography in the Pacific, MA Thesis by Geoffrey Barker, University of Sydney, 2010.
Abstract: This thesis provides an overview of general trends in the development of photography in the Pacific over the nineteenth century. Its central premise is that research to date has focused on
small portions of the archive without the benefit of a more general appraisal. This thesis seeks to fill this gap and provide new insights into the uniqueness, or otherwise, of photographic engagement within this region over the course of the nineteenth century. Attempting a general work on this subject may be felt to be merely reiterating current knowledge but this thesis argues that an adoption of a broader time period, more collections, and a range of islands pulls together for the first time a range of disparate interpretations, events, and photographs. This work focuses attention on the technical constraints and the physical realities facing these photographers as they made their way through these islands. It does not seek to speak for the Pacific Islanders in the photographs, or attempt any in-depth theoretical analysis on the broader cultural machinations of colonialism. What it does attempt is to provide a general context from which to gain an understanding of how, and where, photography was introduced across the Pacific in the nineteenth century.
Publishing details: MA Thesis, University of Sydney, 2010.

Halloran Rodview full entry

Reference: see Theodore Bruce Auctions, July 13, 2023, lot 6525
Rod Halloran
Australia (20th Century)
Barrengarry, Kangaroo Valley, NSW, 2017
Oil on board
Signed lower left,
Titled & Inscribed verso,
20 x 50 cm Frame: 34.5 x 64 cm
Good condition, original frame.
Estimate: A$80 - A$120

Halloran Rodview full entry

Reference: see ‘Friends of the Campbeltown Art Gallery’ publication, 1983.
Publishing details: The City of Campbeltown Art Collection, 1983

Johnstone Caitlinview full entry

Reference: see fairobservor.co: Caitlin Johnstone is a reader-funded journalist, essayist, painter and poet based in Melbourne, Australia. She writes with her American husband, Tim Foley. She has published her writing in many outlets. She writes about politics, economics, media, feminism and the nature of consciousness. She is the author of the illustrated poetry book Woke: A Field Guide For Utopia Preppers.

Mills Rebecca view full entry

Reference: see Platypi: Celebrating The Best Australian And New Zealand Contemporary Illustration. Cover by Rebecca Mills. [’Platypi: Celebrating The Best Australian And New Zealand Contemporary Illustration is a collection of illustrations from various Australian and New Zealand illustrators. It was published by Illustrators Australia in 2018.’]
Publishing details: Illustrators Australia, 2018, pb.

Tyler Frank p 7 p35view full entry

Reference: see Australian Film Posters 1906 - 1960, by Judith Adamson.
Publishing details: Currency Press, 1978, Illustrated. Trade paperback Fine. No dust jacket as issued. 56 pp

Nicholls Syd p7 p16view full entry

Reference: see Australian Film Posters 1906 - 1960, by Judith Adamson.
Publishing details: Currency Press, 1978, Illustrated. Trade paperback Fine. No dust jacket as issued. 56 pp

Cathcart Bill p7view full entry

Reference: see Australian Film Posters 1906 - 1960, by Judith Adamson.
Publishing details: Currency Press, 1978, Illustrated. Trade paperback Fine. No dust jacket as issued. 56 pp

postersview full entry

Reference: see Australian Film Posters 1906 - 1960, by Judith Adamson.
Publishing details: Currency Press, 1978, Illustrated. Trade paperback Fine. No dust jacket as issued. 56 pp

Wall Dorothy p 30 Blinky Bill refview full entry

Reference: see Australian Film Posters 1906 - 1960, by Judith Adamson.
Publishing details: Currency Press, 1978, Illustrated. Trade paperback Fine. No dust jacket as issued. 56 pp

film postersview full entry

Reference: see Australian Film Posters 1906 - 1960, by Judith Adamson.
Publishing details: Currency Press, 1978, Illustrated. Trade paperback Fine. No dust jacket as issued. 56 pp

Webber Johnview full entry

Reference: Catalogue of drawings and portraits in oil by Mr Webber. [In a codicil to his will, dated 7th March 1820, Sir Joseph Banks left the care of his papers to Sir Edward Knatchbull, the nephew of Lady Banks. In 1828 Knatchbull passed over to the British Museum the bound volumes of foreign correspondence, but he retained the rest of the papers in the expectation that an official biography would be written. He died in 1849 and, following the death of Lady Knatchbull in 1882, the ownership of the papers passed to their son Edward Knatchbull Hugesson, 1st Baron Brabourne. In 1884 Lord Brabourne offered the papers for sale to the British Museum but, when no agreement could be reached on a price, he sold many of the Australian papers to the New South Wales Government. They are now held in the Mitchell Library at the State Library of New South Wales. Most of the remaining Banks Papers were sold on behalf of Lord Brabourne by Sotheby's on 11 March and 14 April 1886. One of the successful bidders at the sale on 14 April was E.A. Petherick, the London agent of the Melbourne bookseller George Robertson. He bought 20 lots, including a number of drafts of Banks' letters, his thoughts on the manners of the women of Otaheite, the hints of the Earl of Morton, and the catalogue of drawings and portraits by John Webber. It was unfortunate that Banks' correspondence was divided into several lots on an alphabetical basis. Petherick bought the four lots comprising letters of writers whose names started with C, F, K and P. In 1909 Petherick returned to Australia and later in the year he transferred title in his large collection of books, maps, manuscripts and pictures to the Commonwealth Parliamentary Library. Most of the Banks Papers held in the National Library at MS 9 were originally in the Petherick Collection. Banks was a prolific correspondent and throughout the twentieth century letters that he had written or received were sold at auctions in London and elsewhere or appeared in dealers' catalogues. The Library has bought a number of letters at different sales and assigned them distinct manuscript numbers. The collector Sir Rex Nan Kivell also bought several letters of Banks at London sales and gave them his own NK numbers. His collection was purchased by the Library in 1959. At a later date all the manuscripts in his collection were given manuscript numbers, as well as numbers within the MS 9 sequence. For instance, the letter of Mungo Park can be cited as MS 9/117 or MS 4004, while its original Nan Kivell number was NK 5837 On 23 July 1985 Sotheby's in London sold many of the papers of Banks' friend John Montagu, 4th Earl of Sandwich. Sandwich was First Lord of the Admiralty in 1771-82 and was closely associated with the second and third voyages of Cook. The National Library bought three lots at the sale and the collection was given the number MS 7218. It includes nine letters written by Banks to Sandwich in 1782-84.]
Publishing details: National Library of Australia, nlaobj-222963290, can be viewd online.

Jagger Marion Ferrierview full entry

Reference: see Aalders Auctions, March 12, 2023, lot 532, Untitled (Boats in Harbour) oil on board signed 'M Ferrier' lower right 27cm x 20cm, Est: $400 AUD - $600 AUD
Sold: $600 AUD

Jagger Marion Ferrierview full entry

Reference: see Lawsons, The Weekly Art Sale - Sale 9580 - Lot 5130, 14 December 2022: MARION FERRIER-JAGGER (1882 - 1977)
Still Life
oil on board
27.5 x 32 cm (frame: 42 x 47 cm)
artist monogram lower right
Estimate $80-120
Sold for $170

Jagger Marion Ferrierview full entry

Reference: in City of Albany Art Collection: Red Camellias, Oil on Canvas Laid on Board, 25.7 x 21.5 cm, Marion Ferrier-Jagger

Jagger Marion Ferrier view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
Work by women artists has done much to
brighten the show. It is of great variety, touching extremes of modern technique as practised by the clever sculptor, Loma Latour, to more conservative styles of work which are nevertheless beautiful, such as perfect studies of flowers by Mrs. Marion Ferrier Jagger.

Latour Loma view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
Work by women artists has done much to
brighten the show. It is of great variety, touching extremes of modern technique as practised by the clever sculptor, Loma Latour, to more conservative styles of work which are nevertheless beautiful, such as perfect studies of flowers by Mrs. Marion Ferrier Jagger... LOMA LATOUR is of the younger school of artists. She studied with Rayner Hoff, and is now a disciple as well as an admirer of Epstein. She has never been abroad, but is anxious to go. Three is little scope for her class of art in Australia, though the demand is always improving.
Loma Latour is highly original. She loves to
experiment in new mediums. She used up more than £20 of silk not long ago, and oceans of time, to work out a design in needlework; an odd departure for a sculptor. She wants £70 for the finished job, and hopes some day to see it under glass used as a table top.
At the Royal Art Exhibition she is displaying
what is sedately called a brass inlay panel. It is a full-length figure of a woman, and, interest- ing us it is as a design, it is eminently more interesting as a new medium. It is an experiment she thought out herself, and is actually a kind
of enlarged cloisonne. She used 75 feet of brass strips. She thinks her new idea might be suitable for bathroom floors or walls.
Another good girl artist is Sheila Elvins, of
Mosman. Her two still-life water-colours, "Old Friends" and "Prawns," reveal what is so often neglected in fine art-a sense of humour. Her best picture for composition and technique is a
still-life study in which she has used beads and a small wood toy figure. Again there is a suggestion of humour in the way the figure is placed.

Toovey Doraview full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
A Mother Who Paints.
DORA TOOVEY, wife of the well-known artist, Jimmy Jackson, shows a landscape in oil entitled "Back o' Barrington." It is a fine painting, and compares well with works of some of the well-known men landscape painters exhibiting woiks at the show, such as Lister Lister and Eric Langker.
Dora Toovey admits she has learnt a great deal about art from her husband. In a year or two she intends to devote more time to painting.
At present her hands are occupied looking after her two young children, a boy and a girl. The boy is still a baby.
She painted "Back o' Barrington" with the baby more or less in her arms. She thinks you cannot look after very young children and be a painter. You will either have badly brought-up children or poorly-executed paintings.
When the children are old enough to enter
into family life and do things for themselves, it is different.
Dora Toovey thinks artists make excellent husbands, for the reason that their art keeps them out of mischief, especially if they are good artists.

Flaxman Mollieview full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
Encouraged as Schoolgirl.
MOLLIE FLAXMAN, attractive brunette protegee of Lister Lister, shows two little landscapes which, like so many paintings, are typical of the artist's personality. They are neat and well groomed. Miss Flaxman lives with her mother and father at Bondi Junction, and, when she is not painting, helps with the family business.
Her mother encouraged her to paint when she was a schoolgirl. It was with her mother she attended the opening of the show.
Miss Flaxman drives her own car into the
country in search of views to paint. She parks the car in a quiet road and then goes hiking up hills or down dales till a suitable view is located. With her goes her fiance, Mr. Douglas Thistlethwaite, analytical chemist. He carries her apparatus and acts the part of a sort of "art caddy." They will be married in a year's time, but Mollie Flaxman is not going to give up paintng. Her future husband is an enthusiast for her
work.

O’Harris Pixieview full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
Books of Fairy Tales.
AMONG the few women artists who earn their living from their art is Pixie O'Harris, who is Mrs. Bruce Pratt. It is only recently that this artist has started to exhibit her work. She held a private show recently in George Street, when people had an opportunity of seeing her exquisite
illustrations for books of fairy tales,
She is the daughter of the late Mr. G. F. Harris, a very fine English painter, and no doubt she inherits his talent. It is curious that she has never studied, yet her style is continuously improving, and there is little doubt she is only on the threshold of her artistic career. Her contiibutions to the show display an extraordinary variety of technique, and, for a self-taught artist,
an amazing intuitive knowledge of form. Study her little picture, "Big Sister." It was drawn, without models, straight out of the artist's mind, yet it is one of the most natural sketches in the exhibition.

Esch F W L reviewer of exhibitionview full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
From the Country.
... NEW SOUTH WALES country scenes and the work of country painters figure prominently in the exhibition, There is work by Marjorie Arnold and Tempe Manning, of Bowral, the latter showing an unusual view of Bowral under snow. Mrs. E. G. White Burgess exhibits two interestng figure studies in costume, the best being "The
Green Scarf." Laura Booth and Winifred Caddy display views of Bathurst. Two fine pictures are shown by Edith Cusack. One during a recent rip to England pictures Penzance, Cornwall, with all the frigid charm of an English summer. It is outdone in bleak realism by Mrs. H. M. White's
study of summer in Switzerland.
The women's auxiliary committee which worked successfully for the International Art Exhibition held at the National Art Gallery last year is re-forming, with Lady Street as president.
The committee's object is not only to show their own appreciation of the loan collection of British masters, now on view, but to draw the attention of the general public to this wonderful artistic treat, and to help to make the National Art Gallery a friendly and congenial meeting-place for the art-loving people of Sydney. F. W. L. Esch.

Arnold Marjorie
view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
From the Country.
... NEW SOUTH WALES country scenes and the work of country painters figure prominently in the exhibition, There is work by Marjorie Arnold and Tempe Manning, of Bowral, the latter showing an unusual view of Bowral under snow. Mrs. E. G. White Burgess exhibits two interestng figure studies in costume, the best being "The
Green Scarf." Laura Booth and Winifred Caddy display views of Bathurst. Two fine pictures are shown by Edith Cusack. One during a recent rip to England pictures Penzance, Cornwall, with all the frigid charm of an English summer. It is outdone in bleak realism by Mrs. H. M. White's
study of summer in Switzerland.
The women's auxiliary committee which worked successfully for the International Art Exhibition held at the National Art Gallery last year is re-forming, with Lady Street as president.
The committee's object is not only to show their own appreciation of the loan collection of British masters, now on view, but to draw the attention of the general public to this wonderful artistic treat, and to help to make the National Art Gallery a friendly and congenial meeting-place for the art-loving people of Sydney. F. W. L. Esch.

Manning Tempe view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
From the Country.
... NEW SOUTH WALES country scenes and the work of country painters figure prominently in the exhibition, There is work by Marjorie Arnold and Tempe Manning, of Bowral, the latter showing an unusual view of Bowral under snow. Mrs. E. G. White Burgess exhibits two interestng figure studies in costume, the best being "The
Green Scarf." Laura Booth and Winifred Caddy display views of Bathurst. Two fine pictures are shown by Edith Cusack. One during a recent rip to England pictures Penzance, Cornwall, with all the frigid charm of an English summer. It is outdone in bleak realism by Mrs. H. M. White's
study of summer in Switzerland.
The women's auxiliary committee which worked successfully for the International Art Exhibition held at the National Art Gallery last year is re-forming, with Lady Street as president.
The committee's object is not only to show their own appreciation of the loan collection of British masters, now on view, but to draw the attention of the general public to this wonderful artistic treat, and to help to make the National Art Gallery a friendly and congenial meeting-place for the art-loving people of Sydney. F. W. L. Esch.

Burgess Mrs. E. G. White view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
From the Country.
... NEW SOUTH WALES country scenes and the work of country painters figure prominently in the exhibition, There is work by Marjorie Arnold and Tempe Manning, of Bowral, the latter showing an unusual view of Bowral under snow. Mrs. E. G. White Burgess exhibits two interestng figure studies in costume, the best being "The
Green Scarf." Laura Booth and Winifred Caddy display views of Bathurst. Two fine pictures are shown by Edith Cusack. One during a recent rip to England pictures Penzance, Cornwall, with all the frigid charm of an English summer. It is outdone in bleak realism by Mrs. H. M. White's
study of summer in Switzerland.
The women's auxiliary committee which worked successfully for the International Art Exhibition held at the National Art Gallery last year is re-forming, with Lady Street as president.
The committee's object is not only to show their own appreciation of the loan collection of British masters, now on view, but to draw the attention of the general public to this wonderful artistic treat, and to help to make the National Art Gallery a friendly and congenial meeting-place for the art-loving people of Sydney. F. W. L. Esch.

Booth Laura view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
From the Country.
... NEW SOUTH WALES country scenes and the work of country painters figure prominently in the exhibition, There is work by Marjorie Arnold and Tempe Manning, of Bowral, the latter showing an unusual view of Bowral under snow. Mrs. E. G. White Burgess exhibits two interestng figure studies in costume, the best being "The
Green Scarf." Laura Booth and Winifred Caddy display views of Bathurst. Two fine pictures are shown by Edith Cusack. One during a recent rip to England pictures Penzance, Cornwall, with all the frigid charm of an English summer. It is outdone in bleak realism by Mrs. H. M. White's
study of summer in Switzerland.
The women's auxiliary committee which worked successfully for the International Art Exhibition held at the National Art Gallery last year is re-forming, with Lady Street as president.
The committee's object is not only to show their own appreciation of the loan collection of British masters, now on view, but to draw the attention of the general public to this wonderful artistic treat, and to help to make the National Art Gallery a friendly and congenial meeting-place for the art-loving people of Sydney. F. W. L. Esch.

Caddy Winifred view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
From the Country.
... NEW SOUTH WALES country scenes and the work of country painters figure prominently in the exhibition, There is work by Marjorie Arnold and Tempe Manning, of Bowral, the latter showing an unusual view of Bowral under snow. Mrs. E. G. White Burgess exhibits two interestng figure studies in costume, the best being "The
Green Scarf." Laura Booth and Winifred Caddy display views of Bathurst. Two fine pictures are shown by Edith Cusack. One during a recent rip to England pictures Penzance, Cornwall, with all the frigid charm of an English summer. It is outdone in bleak realism by Mrs. H. M. White's
study of summer in Switzerland.
The women's auxiliary committee which worked successfully for the International Art Exhibition held at the National Art Gallery last year is re-forming, with Lady Street as president.
The committee's object is not only to show their own appreciation of the loan collection of British masters, now on view, but to draw the attention of the general public to this wonderful artistic treat, and to help to make the National Art Gallery a friendly and congenial meeting-place for the art-loving people of Sydney. F. W. L. Esch.

Cusack Edith view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
From the Country.
... NEW SOUTH WALES country scenes and the work of country painters figure prominently in the exhibition, There is work by Marjorie Arnold and Tempe Manning, of Bowral, the latter showing an unusual view of Bowral under snow. Mrs. E. G. White Burgess exhibits two interestng figure studies in costume, the best being "The
Green Scarf." Laura Booth and Winifred Caddy display views of Bathurst. Two fine pictures are shown by Edith Cusack. One during a recent rip to England pictures Penzance, Cornwall, with all the frigid charm of an English summer. It is outdone in bleak realism by Mrs. H. M. White's
study of summer in Switzerland.
The women's auxiliary committee which worked successfully for the International Art Exhibition held at the National Art Gallery last year is re-forming, with Lady Street as president.
The committee's object is not only to show their own appreciation of the loan collection of British masters, now on view, but to draw the attention of the general public to this wonderful artistic treat, and to help to make the National Art Gallery a friendly and congenial meeting-place for the art-loving people of Sydney. F. W. L. Esch.

White Mrs. H. M. view full entry

Reference: see The Sydney Morning Herald, Tuesday 10 Aug 1937, Page 21, ‘ART SEASON NOW IN FULL SWING’:
From the Country.
... NEW SOUTH WALES country scenes and the work of country painters figure prominently in the exhibition, There is work by Marjorie Arnold and Tempe Manning, of Bowral, the latter showing an unusual view of Bowral under snow. Mrs. E. G. White Burgess exhibits two interestng figure studies in costume, the best being "The
Green Scarf." Laura Booth and Winifred Caddy display views of Bathurst. Two fine pictures are shown by Edith Cusack. One during a recent rip to England pictures Penzance, Cornwall, with all the frigid charm of an English summer. It is outdone in bleak realism by Mrs. H. M. White's
study of summer in Switzerland.
The women's auxiliary committee which worked successfully for the International Art Exhibition held at the National Art Gallery last year is re-forming, with Lady Street as president.
The committee's object is not only to show their own appreciation of the loan collection of British masters, now on view, but to draw the attention of the general public to this wonderful artistic treat, and to help to make the National Art Gallery a friendly and congenial meeting-place for the art-loving people of Sydney. F. W. L. Esch.

Leunig Maryview full entry

Reference: A Piece of Cake, by Mary Leunig.
Publishing details: Penguin, 1986
Ref: 1000

Leunig Maryview full entry

Reference: One Good Turn, by Mary Leunig.
Publishing details: The Lifted Brow(2018),
Ref: 1000

Leunig Maryview full entry

Reference: see Wikipedia: Mary Leunig (born 1950) is an Australian visual artist who has had work featured in such publications as The Age, Meanjin, Nation Review, Heat Magazine, AWU Magazine, Time, Penthouse, Der Rabe, and The Meatworkers Journal... Mary Leunig grew up in Maidstone, Melbourne where she attended Footscray North State School and Maribyrnong High School. Leunig has two sisters, and her brother, Michael Leunig (born 1945), is also a popular and accomplished cartoonist and poet. She began studying art at Prahran Institute of Technology, and later Preston Institute of Technology, where she completed her studies, majoring in drawing and printmaking.[1] Her future husband was also a student at Prahran.[4] Her cartoons are drawn in pen and watercolour with black lines and vibrant colours.[5] Her work often includes political and feminist themes and usually contains elements that are humorous or confronting.[6]... Leunig married Leon Norster (born 1950) and they have two children.[7] She lives and works in Merton in the Strathbogie Ranges of Victoria.[8][9][10]...

200 years of Australian works on paper from 1811 to 2011view full entry

Reference: 200 years of Australian works on paper : from 1811 to 2011. Exhibition at Philip Bacon Galleries. No biographical information on artists.
Publishing details: Philip Bacon Galleries, 2011, 19 p. : ill. (some col.) with price list.
Ref: 146

Katte Frederick and Margaretview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Gauvin Dorothy portrait of Dr Elaine Katteview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Barron Howard with brief biographyview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Esling Gordonview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Salvana Johnview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Wakelin Rolandview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Eldershaw Johnview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Raglass Maxview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Nolan Sidneyview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Namatjira Albertview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Daws Lawrenceview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Pugh Cliftonview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Boyd Davidview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Blackman Charlesview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Inson Graemeview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Baker Alan Dview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

French Leonardview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Fullbrook Samview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Frazer Neilview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Proud Geoffreyview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Sawrey Hughview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Steinmann Heinzview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Stubbs Douglasview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Lane Harold 1925-2012view full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Fairweather Ian watercolour c1921view full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Crooke Rayview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Rigby Johnview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Parker Colinview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Gleghorn Tomview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Paterson Nanview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Churcher Peterview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Dargie Williamview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Katte Elaineview full entry

Reference: see Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Alcorso Claudioview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Annand Douglas 4 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Bellette Jeanview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Blakebrough Blakeview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Byers Peterview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Smith Jack Carrington 5 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Constable William 1refview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Dalgarno Roy 1refview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Giles Patricia 1refview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Danciger Alice 5 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Drysdale Russell 5 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Feint Adrien 2 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Grounds Roy 6 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Kaldor John 6 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Modernage exhibition numerous refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Orban Desiderius 2 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Preston Margaret 4 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Shillito Miss 2 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Smith Syd Ure 3 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Walker Stephen 2 refsview full entry

Reference: Colour and Movement: The Life of Claudio Alcorso, by Stephanie Cahalan. With index. ‘Colour and movement: The life of Claudio Alcorso is a study of a humanist, entrepreneur, patron of the arts and conservationist.
After fleeing fascism in Italy and enduring incarceration in Australia in World War II, Alcorso became a champion of textiles and the arts, pioneer of Tasmania’s cool climate wine industry, and architect of Hobart’s cultural precinct. Alcorso was at the leading edge of Australia’s twentieth century multicultural and artistic awakening.
Claudio helped redraft the cultural blueprint of Tasmania during his journey from one of Rome’s elite, to the bankrupted tenant of his beloved Moorilla Estate in far-flung Hobart. There he watched the winery he created commence its transformation into MONA, the dissident private museum that has, in turn, reshaped contemporary Tasmania’s view of itself and its place in the world.
Painted through personal accounts, letters and rarely seen images, this portrait of Alcorso shows that his feats will forever dwarf his failures.’

Publishing details: Hobart: Forty South Publishing, 2019.
First Edition. Signed by Author

21cm x 24cm. xvi, 192 pages, illustrations, some colour. Illustrated french fold wrapper.

Modernage - A New Approach to Textile Designing Aview full entry

Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’

see also:
see Barsby Auctions, Monthly Auction (Art lots only), Sydney, 18/02/2017, Lot No. 524
'Pearl Divers'
Fabric, 79 x 87 cm,
Manufactured for an exhibition in 1947 of Modernage fabrics. Desgned by Donald Friend. In 1947 Claudio Alcorso of Silk & Textiles Printers Pty Ltd (STP) organised the exhibition. Modernage Fabrics, which consisted of 46 fabric designs by 33 Australian artists. The fabrics printed by his company in the colours and materials selected by the artists were exhibited in Sydney and Melbourne. Alcorso hoped this textile exhibition would inspire Australian industries to commission Australian artists to design their products instead of copying overseas designs.
Publishing details: Ure Smith, 1947
40 p. : ill. (some col.)

Hanks Rewview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Brew Iainview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

de Rosa Keiraview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Bartlett Geoffreyview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Cassab Judyview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Blackman Charlesview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Bancroft Bronwynview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Djalparaview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Eager Helenview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Fritz Helliview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Namatjira Enosview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Spowers Ethelview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Children of Mia Miaview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Mia Mia Children of view full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Warren Guyview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Watters Maxview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Alexakis Effy 4 worls view full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Morley Lewisview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Thompson Tomview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Norris Barnablyview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Tjapanangka Long Tomview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Gazzard Marea 3 wiorksview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Hinder Margelview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Adam Victorview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Doolin Jamesview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Johnson Timview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Lewers Margoview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Maruview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

McGillick Tonyview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Preston Margaretview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Schlicht Rollinview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Tuckson Tonyview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Oldfield Ron 6 worksview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Friedman Reneeview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Brack Johnview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Jones Jana p116view full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Norman Jenny p116view full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Moore Timothyview full entry

Reference: see Affinities : 7 museums, 50 objects : Macquarie University Art Gallery 14 March - 25 May 2014 / Macquarie University Museums and Collections curatorial team.
Publishing details: Sydney : Macquarie University, 2014
121 pages

Horne G. M. , view full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Hill Mview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Rowe F. K. , view full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Hardy C. J , view full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Bleim J. view full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Vinter Johnview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Longstaff John 3 worksview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Raglass Maxview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Buckmaster Ernestview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Bernaldo Allan Thomasview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Bell George Henry Frederickview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Herbert Harold Brocklebankview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Rowell John Nightingaleview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Dargie william Alexanderview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Quinn James Peter with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Shore Arnoldview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Gurdon Norah with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Gurdon Norah with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Loxton John S with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Long Sydney with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Ramsay Hughview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Pick John with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Annois Leonard Lloydview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Annois Lenview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Johnson Robertview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

McCubbin Frederickview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Paterson Betty with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Watson James D with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Young William Blamire with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Coleman Alfred 1886-1948 with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Moore Alan with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Currie A no biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Hellier Dermont James John with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

Hellier Dermont James John with biographyview full entry

Reference: see City of Shepparton: Catalogue of the Shepparton Art Collection. Includes biographical information on artists. Includes some b&w illustrations, and a catalogue up to number 37. Typewritten list pasted in with additional catalogue numbers 38-80,including some lesser known artists, eg, G. M. Horne, M. Hill, ?F. K. Rowe, C. J Hardy, J. Bleim, John Vinter,
Publishing details: Shepparton City Council, Victoria, 1949. 12mo, PB, 29pp.

New Womanview full entry

Reference: New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Woman artistsview full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Marcus Donna sculptor p 10 69 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Drew Marian p 10 84 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Cuppaidge Virginia p 10 47 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Schoenheimer-Wagner Leigh p 10 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Avery Eleanor p100 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Reynolds Genevieve Felix p 10view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Johnstone Gallery p 10view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Amos Irene 10 51view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Lahey Vida p11 24-5view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Sheldon Jeanette p11 20view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Bott Sarah Ellen p11 18-19view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Miya Studio p12view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Metcalfe Nona Waldie p12 40-1view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Ryder Mona p12 76-7 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Beetson Bianca p98 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Bell Catherine p114 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Allen Davida p63 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Black Karen p89 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Brock Bridgid p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Brooker Anne p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Carmichael Elisa Jane p102-3 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Churcher Benjamin p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Churcher Paul p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Conrad Janet p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Coombs Courtney p120 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Coulter Emma p105 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Cope Megan p97 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Cummings Elizabeth p60 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Dauber Christine p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Fragar Julie p119 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Eisler Simone p127 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Foley Fiona p10 90-1 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Georgetti Diena p113 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Grant John and Susan p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Haynes Rachel p125 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Heath Barbara p70 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Henderson Glen p110 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Herd Jennifer p115 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Higgins Andrea p121 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Hinwood Rhyl p64 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Hoffie Patricia p122-3 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Hogan Annie p80 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Hollie p74 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Hughes Natalie p108 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Jorgensen Jan p112 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Kelly Madelaine p96 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Kentish Judith p66 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Lang Alice p104 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Lawrie Dana p106 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

MacFarlane Ingereth p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

McCowan Bronwyn p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Maslen Geoffrey p135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

McGregor Carol p107 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Milani Lyndall p81 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Mills Wendy p75 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Moffatt Tracey p85 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Morrow Christine p65 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Orr Glenda p126 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Paton Nat p87 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Peach Dianne p73 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Rohan Monica p93 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Schoenheimer Joy p 10 49 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

See Pamela p128-9 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Selig Sandra p118 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Shillam Kathleen p55-6 59 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Simpson Sancintya p94-5 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Slater Annie p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Smith Gemma p92 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Staunton Madonna p50 124 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Target Simon p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Teeland Elizabeth p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Thompson Nicholas p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Tupicoff June p72 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Walker Petrina p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Wallace Anna p82-3 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Watson Jenny p12 52-3 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Watson Judy p111 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Watson Lilla p79 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Were Ian p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Wight Normana p86 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Woods Elizabeth p101 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Wright Judith p67 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Wyman Jemima p109 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Yeates Andrews p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Yeates Michael p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Younger Jay p68 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Zatorska Beata p 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Barth James p117 135view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Barker Caroline portrait c1925 p17 and p71view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Mayo Daphne p21-3view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Grant Gwendolyn p26-7view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Greene Annie Alison p28view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Gibson Bessie p29view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Churcher Betty p31view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Olley Margaret p32view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

McCausland Lola p33view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Prentice Patricia p34view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Cilento Margaret p35 43view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Ashworth Olive p36-7view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Quelhurst Betty p 38-9view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Noonunccal Oodgeroo p42view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Robinson Conty p45view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

MacFarlane Pamela p44view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Yeates Bronwyn p 48view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Schneider Phyllis p54view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Ricketts Joan p57view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Norrie Mary p58view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Roggenkamp Joy p61view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Pigott Gwyn Hanssen p78view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Porch Debra p99view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Blacklock Naomi p 116view full entry

Reference: see New Woman. A catalogue to accompany the exhibition New Woman at Museum of Brisbane, on display between 13 September 2019 - 15 March 2020. New Woman reveals the art, personal stories and enduring legacies of Brisbane's most significant and ground-breaking female artists of the past 100 years. Authors: Sallyanne Atkinson, Paul Spiro, Renai Grace, Louise Martin-Chew, Miranda Hine.
Publishing details: Museum of Brisbane, 2019, 136pp, hc.

Beckett Clariceview full entry

Reference: see essay in Inside Story, ‘An exact illusion of reality. In search of the artist behind the Art Gallery of South Australia’s widely praised exhibition,’ by Tim Colebatch, former economics editor and columnist for the Age, 1 May, 2021. Includes thformation on Rosalind Holingrake finding Clarice Beckett’s paintings in shed.
Publishing details: https://insidestory.org.au/an-exact-illusion-of-reality/

Museum and Gallery Services Queensland view full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Martin Mandyview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Gela Anne Abednegoview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bunny Rupert The Harem c1913view full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Boles Bernard in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Yaxley William in Ipswiich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

King-Smith Leahview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

King-Smith Leah in QUT collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

QUT Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Ipswiich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Drew Marian in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Burn Ian in University of Queensland Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

University of Queensland Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Dowling Robert Hawker in University of Queensland Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Watson Judy in Toowoomba Regional Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Toowoomba Regional Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Thaiday Ken Snr in Ipswich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Wei Guan in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Nona Dennis in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Li Wei HanRosanna in Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Shen Jaiwei in University of Queensland Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Delessert Eugene in Toowoomba Regional Art Gallery 5 illustrationsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hirata Mari in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Siune John in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Robinson Brian in Cairns Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Cairns Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Dupain Max in University of Queensland Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Artspace Mackayview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Mackay Artspace view full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

McBurney Maria Emma in Artspace Mackayview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Outteridge Adele in Artspace Mackayview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Carchesion Eugene in Artspace Mackayview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Skien Glen in Artspace Mackayview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Ahad Farhana in Artspace Mackayview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hitti Deanna in Artspace Mackayview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Marten Annie Pring 1873 in Artspace Mackayview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Marten Annie Pring 1870s in Artspace Mackay 2 illustrationsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bustard William 1894-1973 in Bundaberg Regional Art Gallery 3 works illustratedview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bundaberg Regional Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Fristrom Oscar 1856-1918 in Bundaberg Regional Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Toovey Dora in Bundaberg Regional Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Gallop Herbert Reginald in Bundaberg Regional Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Omeenyo Fiona in Cairns Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Oldfield Alan in Cairns Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Oldfield Alan in Cairns Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Williams Fred in Cairns Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Tipoti Alick in Cairns Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Namok Rosella in Cairns Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Picket Shane in Sunshine Coast Regional Councilview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Albert Tony in Sunshine Coast Regional Council 5 illustrationsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Sunshine Coast Regional Councilview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Jamieson Gil in CQ University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

CQ University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Edwards Shaun in CQ University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

MacDonald Fiona in CQ University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Yaxley William in CQ University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Cattapan Jon in CQ University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Martin Marcellin Louis 1837-1908 in CQ University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Chrcher Roy in Dalby Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Dalby Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Peart John in Dalby Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Whisson Ken in Dalby Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Anderson Peter in Emerald Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Emerald Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Amor Rick in Emerald Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bennett Gordon in Emerald Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Coburn John in Gallery Hitchinbrook 5 illustrationsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Gallery Hitchinbrook Queenslandview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hitchinbrook Gallery Queenslandview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Schoenfisch-Young Wendy in Gladtone Regional Art Gallery and Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Gladtone Regional Art Gallery and Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hynes Jan in Gladtone Regional Art Gallery and Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Baker John in Gladtone Regional Art Gallery and Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Wood Beryl in Gladtone Regional Art Gallery and Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Dobrinin Marguerita in Gladtone Regional Art Gallery and Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Neilsen Ellie in Gladtone Regional Art Gallery and Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Robinson William in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Gascoigne Rosalie in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Macintyre Alasdair in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Wedd Gerry in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Zavros Michael in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Thankupi in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Allen Davida in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bode Edwin 1859-1926 in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Zahalka Anne in Gold Coast City Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Roberts Luke in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Allen Davida in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Kreckler Derek in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Thaiday Ken Snr in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bennett Gordon in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Arkley Howard in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Koomeeta Craig in Griffith University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Namok Rosella in Ipswiich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Johnson Tim in Ipswiich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Quilty Ben in Ipswiich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Vassilieff Danila in Ipswiich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Piccinini Patricia in Ipswiich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hobson Samantha in Ipswiich Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

James Cook University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

in Smith Grace Cossington James Cook University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Crooke Ray in James Cook University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Roughsey Dick in James Cook University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Goobalathaldin Roughsey Dick in James Cook University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Roughsey Dickview full entry

Reference: see Goobalathaldin Dick (Roughsey)

Lymburner Francis in James Cook University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Fullbrook Sam in James Cook University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Proctor Thea in James Cook University Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

KickArts Contemporary Arts Cairnsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Missi Billy at KickArts Contemporary Arts Cairnsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Meeks Arone Raymond at KickArts Contemporary Arts Cairnsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Darmansjah Dian at KickArts Contemporary Arts Cairnsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Djumbunji Press at KickArts Contemporary Arts Cairnsview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Trotter Christopeher in Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Gilmour Guy in Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Spooner Rodney in Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Barker Jill in Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Avery Scott in Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Burgler Joanna in Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Morrow Christine in Logan Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Moreton Bay Regional Council Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hall Miles in Moreton Bay Regional Council Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Shillam Leonard in Moreton Bay Regional Council Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Fristrom Oscar in Moreton Bay Regional Council Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Crooke Ray in Moreton Bay Regional Council Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Jewell Sharon in Moreton Bay Regional Council Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Brisbane City Collection - City of Brisbane Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Rees Lloyd in City of Brisbane Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Lahey Vida in City of Brisbane Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bustard William in City of Brisbane Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Watts James Laurence 1849-1925 in City of Brisbane Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Outback Regional Gallery Wintonview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Winton Outback Regional Gallery view full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Ogg Sally in Outback Regional Gallery Wintonview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

McQueen Rob in Outback Regional Gallery Wintonview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Marchant Bob in Outback Regional Gallery Wintonview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Sawrey Hugh in Outback Regional Gallery Wintonview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Mayo Daphne in Outback Regional Gallery Wintonview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Trotter Christopher in Outback Regional Gallery Wintonview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Spowart Ruby in Outback Regional Gallery Wintonview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Ah Kee Vernon in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hynes Jan in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Henry Desley in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Higson Shayne in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Adams Tate in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Silver Anneke in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Risley Tom in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

McBurnie Ron in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Crooke Ray in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Balfour James Lawson 1870-1966 in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Reid Mark Watt in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Fitzgerald Shane in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Gittoes George in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Lyre Bird Press in Perc Gucker Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Macqueen Kenneth in QUT Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Stacey Robyn in QUT Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Selig Sandra in QUT Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Coburn John in QUT Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bell Richard in QUT Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Robinson William in QUT Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Redland Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Faulkner Kay in Redland Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Ashby Nick in Redland Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

McKenna Noel in Redland Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Mansfield Deb in Redland Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Boyd Arthur in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Olley Margaret in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Dargie William in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Smart Jeffrey in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Murch Arthur in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Brack John in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Drysdale Russell in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Blackman Charles in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Abbott Lemuel Francis (British) in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Amor Rick in Rockhampton Art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Stanthorpe Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Molvig Jon in Stanthorpe Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Robinson William in Stanthorpe Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Heron Don in Stanthorpe Regional Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

MacPherson Robert in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Liu Xiao Xian in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Redford Scott in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Moffatt Tracey in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Friend Donald in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bell Richard in University of Queensland Art Museum 2 works illustratedview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hester Joy in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Dupain Max in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Nolan Sidney in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Laing Rosemary in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Smart Jeffrey in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Crooke Ray in University of Queensland Art Museumview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Fox E PhillipsToowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hunter George Leslie 1877-1931 Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Adair-Smith Brendan in Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

McIntyre Alasdair in Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Pickersgill Frederick Richard portrait of Queen Victoria in Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Serico Vincent in Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Hele Ivor in Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Jenner Isaac Walter in Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Pigott Gwyn Hansen in Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Streeton Arthur in Toowoomba Regional art Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

University of Southern Queensland Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Southern Queensland University Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Furlonger Joe in University of Southern Queensland Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Bennett Gordon in University of Southern Queensland Art Collectionview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

University of Sunshine Coast Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Watson Judy in University of Sunshine Coast Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

Uhlmann Norma in University of Sunshine Coast Galleryview full entry

Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.

History Of Professional Photography In Australiaview full entry

Reference: A History Of Professional Photography In Australia, by Paul Curtis. [This book shows how 'Australia's professional photographers struggled with technology, boom & bust csycles and polittics to push themselves to new heights'.’]
Publishing details: Published by Australian Institute Of Professional Photography, AIPP Sydney, 2013, 218pp, b/w illusts
Ref: 1000

Photography In Australiaview full entry

Reference: see A History Of Professional Photography In Australia, by Paul Curtis. [This book shows how 'Australia's professional photographers struggled with technology, boom & bust csycles and polittics to push themselves to new heights'.’]
Publishing details: Published by Australian Institute Of Professional Photography, AIPP Sydney, 2013, 218pp, b/w illusts

Photography Of The Ageview full entry

Reference: Photography Of The Age: Newspaper Photography In Australia, by Kathleen Whelan.
Publishing details: Published by Hale & Iremonger Sydney 1993, 144pp, hc.
Ref: 1000

Symons Suellenview full entry

Reference: Garden of Eden - landscape photography in Australia. illustrated with photographs of New South Wales landscapes. Symons took these photopgraphs of Australian landscapes between 2012 & 2014.
Publishing details: [Redfern, New South Wales] : [Suellen Symons], [2014]. Oblong quarto, illustrated wrappers, pp. 26,
Ref: 1000

Press photographyview full entry

Reference: see Shooting the picture - Press photography in Australia by Sally Young, Fay Anderson [’Shooting The Picture is the story of Australian press photography from 1888 to today—the power of the medium, seismic changes in the newspaper industry, and photographers who were often more colourful than their subjects. This groundbreaking book explores our political leaders and campaigns, crime, war and censorship, international events, disasters and trauma, sport, celebrity, gender, race and migration. It maps the technological evolution in the industry from the dark room to digital, from picturegram machines to iPhones, and from the death knock to the ascendancy of social media. It raises the question whether these changes will spell the end of traditional press photography as we know it.

About the authors
Associate Professor Fay Anderson lectures in the School of Media, Film and Journalism at Monash University. She has published widely on media history, war journalism, genocide, photography and violence. Fay Anderson and Richard Trembath's book Witnesses to War: The History of Australian Conflict Reporting was published by MUP in 2011.

Associate Professor Sally Young is a reader in political science and an Australian Research Council Future Fellow for 2014-17. She has published extensively in the areas of Australian politics, Australian media, political communication and journalism studies and writes a monthly column for Fairfax Media.
- See more at: https://www.mup.com.au/items/184159#sthash.hmXzNgpK.dpuf’]
Publishing details: The Miegunyah Press, 2016.
4to, 360pp. Black & white illustrations.

photographyview full entry

Reference: see Shooting the picture - Press photography in Australia by Sally Young, Fay Anderson [’Shooting The Picture is the story of Australian press photography from 1888 to today—the power of the medium, seismic changes in the newspaper industry, and photographers who were often more colourful than their subjects. This groundbreaking book explores our political leaders and campaigns, crime, war and censorship, international events, disasters and trauma, sport, celebrity, gender, race and migration. It maps the technological evolution in the industry from the dark room to digital, from picturegram machines to iPhones, and from the death knock to the ascendancy of social media. It raises the question whether these changes will spell the end of traditional press photography as we know it.

About the authors
Associate Professor Fay Anderson lectures in the School of Media, Film and Journalism at Monash University. She has published widely on media history, war journalism, genocide, photography and violence. Fay Anderson and Richard Trembath's book Witnesses to War: The History of Australian Conflict Reporting was published by MUP in 2011.

Associate Professor Sally Young is a reader in political science and an Australian Research Council Future Fellow for 2014-17. She has published extensively in the areas of Australian politics, Australian media, political communication and journalism studies and writes a monthly column for Fairfax Media.
- See more at: https://www.mup.com.au/items/184159#sthash.hmXzNgpK.dpuf’]
Publishing details: The Miegunyah Press, 2016.
4to, 360pp. Black & white illustrations.

Boyd Robinview full entry

Reference: Transition No 38 Discourse On Architecture: Special Issue: Robin Boyd - Complete Catalogue Of Robin Boyd's Writing & Writing On Boyd's Work, by Harriet Enquist, & Philip Goad.
This issue has 11 articles on Boyd as architect and critic as well as a chronological list of all his works. The rest of th issue has review articles on Guilford Bell, the chair's report of the housing design competition; the Australian National Maritime museum, inter-war housingf etc.
Publishing details: RMIT Melbourne, 300pp, pb
Ref: 1000

Olympic Architectureview full entry

Reference: Olympic Architecture: Building Sydney 2000
Patrick Bingham-Hall, Paul McGillick & Philip Goad. This book provides a complete overview of Sydney's Olympic venues.
Publishing details: Watermark, Melbourne 1999, 2006, 80pp, b/w & colour illusts, hc.
Ref: 1000

Architectureview full entry

Reference: see Olympic Architecture: Building Sydney 2000
Patrick Bingham-Hall, Paul McGillick & Philip Goad. This book provides a complete overview of Sydney's Olympic venues.
Publishing details: Watermark, Melbourne 1999, 2006, 80pp, b/w & colour illusts, hc.

New Directions In Australian Architectureview full entry

Reference: New Directions In Australian Architecture, by Patrick Bingham-Hall, (illusts) & Philip Goad (text). This book profiles the work of Andresen O'Gorman; Ashton Raggatt McDougall; Donovan Hill; Engelen Moore; Sean Godsell; Jones Coulter Young; Lyons Architects; Nation Fender Katsalidis; Stutchbury & Pape; Kerstin Thompson; Tonkin, Zulaikha Greer; Troppo; John Wardle; Wood Marsh.
Publishing details: Pesaro Publishing Sydney 2001, 296pp, Colour Illusts, hardcover in dustjacket
Ref: 1000

Bingham-Hall Patrick illustrationsview full entry

Reference: see New Directions In Australian Architecture, by Patrick Bingham-Hall, (illusts) & Philip Goad (text). This book profiles the work of Andresen O'Gorman; Ashton Raggatt McDougall; Donovan Hill; Engelen Moore; Sean Godsell; Jones Coulter Young; Lyons Architects; Nation Fender Katsalidis; Stutchbury & Pape; Kerstin Thompson; Tonkin, Zulaikha Greer; Troppo; John Wardle; Wood Marsh.
Publishing details: Pesaro Publishing Sydney 2001, 296pp, Colour Illusts, hardcover in dustjacket

Vision: Art, Architecture & The National Gallery Of Australiaview full entry

Reference: Vision: Art, Architecture & The National Gallery Of Australia, by Nick Mitzevich, Bruce Johnson Mclean; Philip Goad; Lucina Ward & Simeran Maxwell. [Goad tracks the history of Col Madigan's design and construction. Ward & Maxwell detail the NGA's first display of its collection.]
'A beautifully illustrated celebration of one of the nation's most remarkable buildings - Australia's National Gallery.

The story of the conception of the National Gallery of Australia building - its design, construction and controversial aftermath - has all the qualities of a Promethean struggle. Planned in the open-minded 1970s but birthed in the more conventional 1980s, the National Gallery building has not always been understood or embraced.

Forty years since the opening of the National Gallery on the shores of Lake Burley Griffin, it's time to recognise the building's ambition, beauty and, as Phillip Goad writes, 'dare to uncover its bones, revel in its concrete presence and retrieve its vision'.

Vision is a celebration of this significant landmark in the history of Australian architecture, exploring the gallery in its entirety - from its founding on Ngunnawal and Ngambri Country to its status today as a world-renowned gallery.

Designed by John Warwicker, this elegant volume features an essay by internationally respected architectural historian Philip Goad and reflections from National Gallery curators Lucina Ward and Simeran Maxwell on the gallery's first exhibition, alongside never-before-published images from the Gallery's photographic archive.

Vision will appeal to lovers of art, architecture and Australian history.

About the National Gallery

Since it was first established in 1967, the National Gallery has played a leadership role in shaping visual arts culture across Australia. Forty years on from the official opening of the Col Madigan building, it continues to be a national cultural leader, championing a contemporary cultural agenda with art and artists at the heart of its engagement with the community.'
Publishing details: Black Inc for NGA, Canberra 2022, 120pp, b/w & colour illusts, very ood hardback with decorated baords (no dustwrapper as issued
Ref: 1000

National Gallery Of Australiaview full entry

Reference: see Vision: Art, Architecture & The National Gallery Of Australia, by Nick Mitzevich, Bruce Johnson Mclean; Philip Goad; Lucina Ward & Simeran Maxwell. [Goad tracks the history of Col Madigan's design and construction. Ward & Maxwell detail the NGA's first display of its collection.]
Publishing details: Black Inc for NGA, Canberra 2022, 120pp, b/w & colour illusts, very ood hardback with decorated baords (no dustwrapper as issued

Durbach Block - The Luminous Space Of Abstractionview full entry

Reference: Durbach Block: The Luminous Space Of Abstraction, by Harry Margalit, & Philip Goad.
This book shows 13 Sydney based projects: Tusculum; House Vinh; Darling Point House; modern urban housing; Einfield House; hillside house; Fostr Street Apartment; Wagga Wagga Civic Centre; Federation Square; Hunters Hill House; Student Housing, RMIT; Vista Street; amenities buildinsg, Sydney Olympic Site.
Publishing details: Pesaro, Sydney 1999, 96pp, colour illusts,, pb.
Ref: 1000

architectureview full entry

Reference: see Durbach Block: The Luminous Space Of Abstraction, by Harry Margalit, & Philip Goad.
This book shows 13 Sydney based projects: Tusculum; House Vinh; Darling Point House; modern urban housing; Einfield House; hillside house; Fostr Street Apartment; Wagga Wagga Civic Centre; Federation Square; Hunters Hill House; Student Housing, RMIT; Vista Street; amenities buildinsg, Sydney Olympic Site.
Publishing details: Pesaro, Sydney 1999, 96pp, colour illusts,, pb.

Momentum: New Victorian Architectureview full entry

Reference: Momentum: New Victorian Architecture,
by Philip Goad, et al. [The essays are: a view from far & near: homegrown; architecture in the regions, a Victorian tradition of experimentation; who architects design for and who they are when they design; an architectural ecology, speculations on emergent practices; case studioes. There is a section on selected projects (52-402pp).]
Publishing details: The Office Of The Victorian Government Architect, Melbourne 2012, 448pp, b/w & colour illusts, very good+ paperback with decorated French flaps in card slipcase
Ref: 1000

Architectureview full entry

Reference: see Momentum: New Victorian Architecture,
by Philip Goad, et al. [The essays are: a view from far & near: homegrown; architecture in the regions, a Victorian tradition of experimentation; who architects design for and who they are when they design; an architectural ecology, speculations on emergent practices; case studioes. There is a section on selected projects (52-402pp).]
Publishing details: The Office Of The Victorian Government Architect, Melbourne 2012, 448pp, b/w & colour illusts, very good+ paperback with decorated French flaps in card slipcase

Australia Modern: Architecture, Landscape & Designview full entry

Reference: Australia Modern: Architecture, Landscape & Design, by Hannah Lewi, & Philip Goad. [’This book covers: Australian modern architecture; health & children; education; houses & housing; city & suburb; work & war; emigres & exchange; interiors; a nation at play; concrete & construction; landscape & infrastructure; travel & shopping; art & memoriials; furniture design; worship; conserving 20th century heritage; rethinking conservation for modernism; modernism into the future.’]
Publishing details: Thames & Hudson, Melbourne 2019, 236pp, b/w & colour illusts.
Ref: 1000

Architecture Landscape & Designview full entry

Reference: see Australia Modern: Architecture, Landscape & Design, by Hannah Lewi, & Philip Goad. [’This book covers: Australian modern architecture; health & children; education; houses & housing; city & suburb; work & war; emigres & exchange; interiors; a nation at play; concrete & construction; landscape & infrastructure; travel & shopping; art & memoriials; furniture design; worship; conserving 20th century heritage; rethinking conservation for modernism; modernism into the future.’]
Publishing details: Thames & Hudson, Melbourne 2019, 236pp, b/w & colour illusts.

Designview full entry

Reference: see Australia Modern: Architecture, Landscape & Design, by Hannah Lewi, & Philip Goad. [’This book covers: Australian modern architecture; health & children; education; houses & housing; city & suburb; work & war; emigres & exchange; interiors; a nation at play; concrete & construction; landscape & infrastructure; travel & shopping; art & memoriials; furniture design; worship; conserving 20th century heritage; rethinking conservation for modernism; modernism into the future.’]
Publishing details: Thames & Hudson, Melbourne 2019, 236pp, b/w & colour illusts.

Troppo Architectsview full entry

Reference: Troppo Architects - Architecture For The Top End, by Philip Goad, (Glenn Murcutt intro). ‘Adrian Wilke and Phil Harris established Troppo Architects in Darwin in 1981 to build regionally specific homes, offices and civic buildings.’
Publishing details: Pesaro Publishing, Sydney 1999, 112pp, b/w & colour illusts, hardcover, dustjacket,
Ref: 1000

Wilke Adrian view full entry

Reference: see Troppo Architects - Architecture For The Top End, by Philip Goad, (Glenn Murcutt intro). ‘Adrian Wilke and Phil Harris established Troppo Architects in Darwin in 1981 to build regionally specific homes, offices and civic buildings.’
Publishing details: Pesaro Publishing, Sydney 1999, 112pp, b/w & colour illusts, hardcover, dustjacket,

Harris Phil view full entry

Reference: see Troppo Architects - Architecture For The Top End, by Philip Goad, (Glenn Murcutt intro). ‘Adrian Wilke and Phil Harris established Troppo Architects in Darwin in 1981 to build regionally specific homes, offices and civic buildings.’
Publishing details: Pesaro Publishing, Sydney 1999, 112pp, b/w & colour illusts, hardcover, dustjacket,

Double Displacementview full entry

Reference: Double Displacement: Rex Butler on Queensland Art, 1992-2016. by Rex Butler. [“Rex Butler is one of Australia’s most significant critics. Double Displacement provides a comprehensive survey of Butler’s texts on art from Queensland. Collecting pieces on major contemporary artists such as Gordon Bennett, Tracey Moffatt, and Richard Bell, as well as reflection on historical figures like Ian Fairweather, the volume also contains a series of extended reviews of key events such as the Asia Pacific Triennial in which Butler attempts to come to terms with what, if anything, defines contemporary art. Ranging from newspaper reviews to densely argued philosophical investigations, the texts collected in Double Displacement are essential reading for anyone interested in the last three decades of Australian art.” Edited by Helen Hughes and Francis Plagne.]
Publishing details: Brisbane: Institute of Modern Art, 2018. 216 pages. Purple wrappers, illustrated jacket.

Broadsheet (Contemporary Art Centre of South Australia)view full entry

Reference: Broadsheet, a journal of contemporary art (Contemporary Art Centre of South Australia) [published quarterly, June 1954 - v. 15, no. 2 (Oct. 1986) and 1986-2017?
Publishing details: Contemporary Art Centre of South Australia, 1954-2017?
Ref: 1000

Broadsheet - Contemporary Visual Arts and Cultureview full entry

Reference: Broadsheet - Contemporary Visual Arts and Culture, Vol. 42, 3 September, 2013. Cover title: ‘Let’s be Polite about Aboriginal Art’. [To be indexed]
Publishing details: Contemporary Art Centre of South Australia, 2013, pb, pages 162-216

Aboriginal artview full entry

Reference: see Broadsheet - Contemporary Visual Arts and Culture, Vol. 42, 3 September, 2013. Cover title: ‘Let’s be Polite about Aboriginal Art’. [To be indexed]
Publishing details: Contemporary Art Centre of South Australia, 2013, pb, pages 162-216 [Filed with Contemporary art books]

Goodman George Baron photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Glaister T S photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Verney George Hopeview full entry

Reference: see Album of Photographs of Brisbane, by G. H. Verney, 1867-9, albumen photographs
Publishing details: NLA, PIC/6476/1-195 LOC Album 257c

Verney George Hopeview full entry

Reference: see Tennants auction, Books, Maps & Manuscripts, 29th Sep, 2023, Leyburn, UK, lot 105, Sold for £750  Estimated at £200 - £400. The images capture landmark buildings in Brisbane, many newly built, such as the iconic Parliament House after its George Street front was completed circa 1878, and Brisbane Girls Grammar School which is still very much in use today. Interestingly, the girls’ school was set up six years before women were allowed to attend university in Australia, and at the time it was viewed as a radical experiment.
Further images offer a glimpse into the commercial districts, such as a picture of Queen Street taken in 1867 showing a drapers owned by Edward Barton Southerden, a prominent local figure and businessman. Also of interest are images of floods, including one taken in the south of the town which captures a skating rink, possibly the South Brisbane Skating Rink which opened in 1888. Venturing out of the town, the traveller has included images of the surrounding bush, with one particularly delightful image of three men posed at the bottom of a huge Morton fig tree.
In these early days of photography, travellers would have purchased photographs such as these from commercial sellers, rather than had access to their own cameras. As such, the photographs would have been taken over a number of years capturing an extraordinary era of development, expansion and prosperity.
A fascinating album of late 19th century photographs of Brisbane, Queensland and surrounding areas is to be sold in Tennants Auctioneers’ Books, Maps and Manuscripts Sale on 29th September with an estimate of £200-400 (plus buyer’s premium). The album was compiled in the closing decades of the 19th century by an unknown traveller and includes 114 images of Australia alongside further photographs documenting their journey home via Sri Lanka, Aden, the Suez Canal, and Malta.
The images capture landmark buildings in Brisbane, many newly built, such as the iconic Parliament House after its George Street front was completed circa 1878, and Brisbane Girls Grammar School which is still very much in use today. Interestingly, the girls’ school was set up six years before women were allowed to attend university in Australia, and at the time it was viewed as a radical experiment.
Further images offer a glimpse into the commercial districts, such as a picture of Queen Street taken in 1867 showing a drapers owned by Edward Barton Southerden, a prominent local figure and businessman. Also of interest are images of floods, including one taken in the south of the town which captures a skating rink, possibly the South Brisbane Skating Rink which opened in 1888. Venturing out of the town, the traveller has included images of the surrounding bush, with one particularly delightful image of three men posed at the bottom of a huge Morton fig tree.
In these early days of photography, travellers would have purchased photographs such as these from commercial sellers, rather than had access to their own cameras. As such, the photographs would have been taken over a number of years capturing an extraordinary era of development, expansion and prosperity.

How Louisa Elizabeth photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Kilburn Douglas T photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Reed Peter Laurie attrib photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Daintree Richard photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Fauchery Antoine photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Haigh Edward photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Nettleton Charles photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Bayliss Charles photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Holtermann B O photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Lindt J W photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Frith Henry photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Foelsch Paul photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Gabriel C L photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Spencer Walter Baldwin photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Bishop Mervyn photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Croft Brenda L photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

King-Smith Leah photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Andrew Brook photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Moffatt Tracey photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Deacon Destiny photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Ludby Wayne photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Kruger Fred photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Kayser Axel photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Anson Bros photographersview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Caire N J photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Eaton J B photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Cazneaux Harold photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Elliston Peter photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Dombrovskis Peter photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Woldendorp Richard photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Stephenson David photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Laing Rosemary photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Dupain Max photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Cotton Olive photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Poignant Alex photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Le Guay Laurence photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Roberts Russell photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Michaelis Margaret photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Shmith Athol photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Sievers Wolfgang photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Tilghman D C photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Powell Geoffrey photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Fitzpatrick Jim photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Carter Jeff photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Potts David photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Moore David photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Maddison Ruth photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Scott Roger photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Jerrems Carol photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

O’Dwyer Simon photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Maynard Ricky photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Yang William photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Sylvester Darren photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Parke Trent photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Rooney Robert photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Abi-Elias Seham photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Hall Fiona photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Sleeth Matthew photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Piccinini Patricia photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Redgate Jacky photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Brassington Pat photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Zahalka Anne photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Riley Michael photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Ferran Anne photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Henson Bill photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Kempe E C photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Campbell James P photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Saunders A F photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Woolley Charles photographerview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Sweet Samuelview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Ford Sueview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Coventry Virginiaview full entry

Reference: see Photography and Australia, by Helen Ennis. Includes bibliographical references and index.
[’With its moving landscapes and famously independent cultural traditions, Australia is uniquely suited to having its national narrative told through visual documentation. Helen Ennis gathers here a selection of photographs that recount the story of Australia, and through this visual chronicle, she uncovers a distinctively Australian visual culture.
The striking images featured in Photography and Australia, in the new ‘Exposures’ series, documents the iconic sights of the rugged Australian landscape such as the imposing Uluru, or Ayers Rock, as well as documentary photographs, wilderness shots, post-mortem studies of bushrangers and other images both quotidian and extraordinary. A leading Australian photography historian, Ennis argues that the colonial experience is a central element of these visual testaments, and embedded within this experience are the tumultuous relations between white settlers and Aboriginal peoples.
Her analysis explores how the photographs reveal the racial, social and political tensions woven throughout Australian history, ranging from modern works by Aboriginal photographers to archival photographs of desolate mining towns and the peoples who eked out their living from the brutal terrain. The photographers’ personal perspectives are also embedded in the images, Photography and Australia argues, and the book examines how photographers’ responses to place, modernity and globalization were expressed through their works. Photography and Australia unearths an original and engaging perspective on Australian history, weaving a wealth of images into a compelling, informative account.’]
Publishing details: Reaktion Books, c2007, 158 p. : ill. (some col.), ports.

Designersview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Zimmerman Nicky and Simoneview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Zambesiview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Findlay Elizabeth - Zambesiview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Bae Yeojinview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Hooper Francisview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Corbet Denise L’estrangeview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Willow Kitview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Bennett Huwview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Chan Felixview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Russell Arranview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Wanek Monika T Yview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Verner Ingridview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Maticevski Tinaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Thompson Jimview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Rawsthorne Thereseview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Wood Natalieview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Coumbe Bonnieview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Theodore Garyview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Clarke Sarah Janeview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Middleton Heideview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Plunkett Annaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Sales Lukeview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Byrne Andrewview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

McPherson Joshview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Toohey Shaunaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Hollenbach Mishaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Robertson Margaritaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Finetti Nicolaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Smith Nathanview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Dimasi Susanview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Kirby Chantalview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Skillings Marnieview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Manning Vanessaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Gabrielle Cherylview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Briand Nicview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Chong Susienview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Ho Lisaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

McCall Bridgetview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

van Messner Nicholasview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Edmiston Leonaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Gorrow Georgeview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Single Danview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Mittas Konstantinaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Johnston Kirrilyview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Sylvester Kateview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Spetic Karlaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Walker Karenview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Goot Joshview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Ward Jonathanview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Dobson Jamesview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Brunsdon Jaysonview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Luppino Jacobview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Pittorino Anthonyview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Fuller Damionview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Levack Fernview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Gorman Lisaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Smart Alexandra and Genevieveview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Bigeni Garyview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Reid Gailview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Pollitt Benview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Wood Fleurview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Hages Janeview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Rowsell Nickyview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Frisoni Fernandoview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Elsom Samview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Ellery Kimview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Easton Pamelaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Pearson Lydiaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Lee Dionview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Jasingham Dhini Pararaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Dinningham Colletteview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Wiren Cybeleview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Moody Garethview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Kapp Carlview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Freeman-Topper Camillaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Freeman Marcview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Wilson Brentview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Noble Techaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Price Katieview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Price Emmaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Liano Bettinaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Bertouch Edwardview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Johnson Jamesview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Ryan Mary Louview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Sams Deborahview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Costarella Rayview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Arnott Jade Saritaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Finch Jeffrey Jview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Boyd Lillview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Hewitt Annaview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Cleary Alex and Georgieview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

McCall Aliceview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

Isogawa Akiraview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

clothes designview full entry

Reference: see Fashion: Australian & New Zealand Designers, by Mitchell Oakley Smith. [’This is a comprehensive listing of 70 of Australia's & New Zealand's most influential, dynamic & creative designers.’]

Publishing details: Thames & Hudson London & New York 2011, 352pp, colour illusts, fine paperback with French flaps

National Gallery of Victoria collectionview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Chevalier Nicholas works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Williams Fred work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Summers Charles bust of Redmond Barry illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Longstaff John portrait of George Folingsby illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Folingsby George portrait by John Longstaff illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Nettleton Charhes photographs of NGV exhibition illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Buvelot Louis works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

von Guerard Eugene works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

von Guerard Eugene work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Boehm Joseph Edgar work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Rudd C photograph of NGV exhibition illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Rudd Charlesview full entry

Reference: see Album containing photographs of Australia, Egypt and France].[ca. 1895. Oblong folio (28 x 39 cm). With 58 printed photographs (ca. 21 x 25.5 to 13.5 x 20 cm). Mounted on both sides of the leaves in the album. Contemporary black morocco, gold-tooling to boards and spine and gilt on all edges. Being offered for sale by Antiquariaat FORUM BV (Houten, Netherlands).
[60] pp.The album contains 15 silver albumen photographs of Melbourne, taken mainly from the series C. Rudd's new views of Melbourne (1886-1887) by Charles Rudd (1849-1901). They show Collins Street, Melbourne town hall, the public library, Parliament House, the Court of Law, Government House and various other buildings and infrastructure, as well as botanical gardens such as Fitzroy Gardens. The photographs of Sydney were the work of the renowned Australian photographer Henry King (1855-1923), born in England in 1855, who emigrated to Australia with his family in 1856. He worked as a photographer at J. Hubert Newman's studio in Sydney before opening his own studio in 1880. King gained recognition for his photographic studies of Australian Aboriginal people and his scenic views of Sydney. He died in 1923, leaving behind his wife, son, and three daughters. His glass negatives were acquired by J.R. Tyrrell after his death and are now held by the Powerhouse Museum. King is one of Australia's most significant early photographers. The album contains seventeen of King s photographs of the harbour, including Farm Cove and the Circular Quay, Government House and interior and exterior photographs of the town hall, King and George Street, the Mutual Life Association Building, the General Post Office and the Ferner Botanical Garden. Rural New South Was appears in nine photographs, including images of Illawarra National Park, the Hawkesbury River and a series of outdoor photographs taken along the coast at Blackwall and dated July 1895.This curious album of 58 photographs from France, Egypt and most importantly, Australia, opens with a section with six photos from Marseille, showing street views, the city harbour, the Avenue du Prado and the castles.The ten photographs from Egypt depict both the cultural highlights of the country, such as the Pyramids, the Sphinx, the Citadel of Cairo and the Palace of Gizeh, as well as ordinary Arabian villages and street scenes. They stemmed from the ateliers of the Abdullah brothers of Constantinople. The Abdullah Frères, namely Viçen (1820-1902), Hovsep (1830-1908) and Kevork (1839-1918) Abdullahyan, were three Ottoman brothers of Armenian heritage who gained international fame as photographers during the late Ottoman Empire. Some evidence suggests that he may have collaborated with the Zangaki Brothers, and he may have been the official photographer for the Universal Company of the Suez Canal. Later, he worked in partnership with the British-Italian photographer, Antonio Beato.With an owner s inscription in pencil "a appartenu Alfred Schmid", some photographs are captioned in black ink or pencil detailing the places. With a small label from the bookshop that sold the album: "Papeterie Sauwen-Jehotte" in Antwerp. The edges are somewhat bumped and some browning and foxing throughout. Otherwise in good condition. Seller Inventory # ABC_47563

Rudd Charles active 1872-1900, photographerview full entry

Reference: Queen's Wharf, Flinders Street, Melbourne, approximately 1890 / C. Rudd, photo, artist. Ferguson collection. Inscriptions: "C. Rudd's new views of Melbourne."--Printed above image; "Queen's Warf, Flinders Street. Photographed on Baker's "Austral" Plates"--Printed below image.
Publishing details: in National Library of Australia, PIC Box PIC/17519 #PIC/17519

Rudd Charlesview full entry

Reference: see State Library of Victoria
• Photographer's name printed on mount below photograph: C. Rudd, Photo. Artist, 162 Bourke Street East.

• Title inscribed below photograph.
Erskine Falls at Lorne / C. Rudd.
Rudd, Charles, 1849-1901, photographer.
[between 1888 and 1890].
Photographer's name printed on mount below photograph: C. Rudd, Photo. Artist, 162 Bourke Street East.

• Title inscribed below photograph.
Date range taken from the time Charles Rudd was active at 162 Bourke Street East, Melbourne.

Hall Lindsay Bernard photograph of hall with his wife at home illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

McCubbin Frederick various works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Bunny Rupert work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Longstaff John portrait of Alfred Felton and other works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Russell John Peter work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Roberts Tom works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Heysen Hans works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Loureiro Arthur Jose de Sousa work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Glover John works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Westall William work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Martens Conrad work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Clark Thomas work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Dowling Robert work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Burn Henry work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Gill S T work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Streeton Arthur work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Conder Charles work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Alston Aby work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Mackennal Bertram work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Southern Clara work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Fox Emanuel Phillips work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Meldrum Max work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Ramsay Hugh work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Hall Lindsay Bernard work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Griffin Walter Burley work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Proctor Thea work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Prenzel Robert work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Lambert George work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

de Maistre Roy work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Crowley Grace work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Preston Margaret work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Traill Jessie work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Smith Purves Peter work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Rees Lloyd work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Smith Grace Cossington work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Shore Arnold work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Frater William work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Nolan Sidney work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Drysdale Russell work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Boyd Arthur work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Perceval john work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Vassilieff Danila work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Tucker Albert work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Balson Ralph work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Kemp Roger work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Brown Mike work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Brack John work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Dobell William work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Whiteley Brett work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Williams Fred works illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Booth Peter work illustratedview full entry

Reference: see The collections of the National Gallery of Victoria by Ann Galbally. With Index. The National Gallery of Victoria is Australia's oldest and largest public collection. In this handsome and lavishly illustrated new volume, its great collections are documented and described for the first time in relation to the socio-cultural factors which shaped collecting policies. The evolution of the Gallery from its inception is described and all areas of the collection are encompassed. Paintings, sculpture, prints and drawings, furniture, metalwork, ceramics, glass and costumes are all generously illustrated. Informatively written, this book provides an account of inspired purchases and generous bequests as well as missed opportunities and arrogant decisions taken by some of the past directors and trustees, making for provocative reading. the history behind the acquisition of the Gallery's major pieces makes for compelling reading as does the author's scholarly yet eminently readable examination of the artworks themselves.
Publishing details: OUP, 1987, hc, dw, 280pp

Mifsud Betteview full entry

Reference: see artist’s website:
Background
Dr Bette Mifsud was born on Dharug Country (Western Sydney) in New South Wales, Australia, and raised, and worked on family market gardens, there between the 1960’s and 1980s.

Bette's parents survived the catastrophic bombing of Malta during WWII when it was the most heavily shelled country on the planet for its size. Her parents and two toddler brothers spent six weeks at sea crammed onto a rusty ship with many sick migrants. Her mother was seven month's pregnant at the time. The young family arrived in Sydney in May 1954 and were sponsored and housed by other Maltese immigrants until they found a place of their own.

At the age four, Bette discovered a box of black and white family photographs that Mum had brought with her from Malta. It contained portraits of her parents in an utterly foreign landscape. Those younger faces of her parents seemed both, familiar and foreign. The box also contained photographs of her grandparents, and a large extended Maltese family she had never seen.
The photographs enthralled Bette because they had suddenly opened a window onto a world bigger than she had known. They were the first photographs Bette had ever held in her hand. Their value and power, led Bette to take up photography at the age of ten using a Kodak 110 Instamatic camera her Mum had given her. She became hooked on taking pictures of family, market gardens, pets and her local landscape.

The exchange of letters and photographs was for migrants an umbilicus connecting them to their distant homeland and families. Bette’s Mum regularly photographed her growing family (using a Kodak Box Brownie) and sent the photographs to her parents back home, carefully folded into her beautifully handwritten letters. In return, Bette’s Mum would receive much anticipated letters containing more treasured photographs.

Bette studied, lived and worked in Sydney from 1981 until 1995.
From 1985 to 2006, she worked as an artist, and educator. Bette also worked as assistant curator and administrator at The Australian Centre for Photography, Artspace Sydney, The Tin Sheds Gallery, Belvoir Street Theatre and The City of Sydney Sculpture Walk.

In 1995, Bette moved to Dharug and Gundungurra Country (Blue Mountains World Heritage Area) in New South Wales, Australia and continued to work as an artist and educator. She has lived in the Blue Mountains with partner, novelist, Trevor Shearston, since then.
Their son, Corin Shearston, was born in 1997.
Their home has studios, a wood workshop, a vegetable garden, orchard and a large native garden.
Education
In 1985, Bette graduated with a Bachelor of Visual Arts from Sydney College of the Arts, majoring in photography and painting. In 1996, she graduated with a Master of Fine Arts with First Class Honours from the University of New South Wales, majoring in photo-media and multimedia installations. In 2012, she graduated with a Doctorate of Creative Arts from the Western Sydney University, majoring in ecological art. Her research included indigenous ecologies, sacred architecture, eco-psychology, social ecology, landscape painting and photography, garden design, environmental and public art.
Her doctoral exegesis is entitled, Coming to Ground: the Work of Art in Ecohumanism
Art
Bette Mifsud’s artwork stems from the photograph's relationships with the past and how those relationships resonate with human psyche in the present. She states, “photographs are like fragments of the past, and remnants of a larger ungraspable and ever-changing living world”.

Bette’s practice, has engaged with photography’s inherent dualities: negative-positive images, realism-illusion, light-shadow, the seen-unseen. Her practice extends into photography’s relationships with painting, life and death, identity and recognition, time and continuity.

Bette’s practice includes, photo-media, landscape and portraiture, multimedia installation, painting, sculpture, video and ecological art.

Career Highlights and Awards
Bette Mifsud has exhibited in numerous solo and group exhibitions, including in Amsterdam, Berlin, Malta, Tokyo, and other countries.

In 1989, Bette was awarded the Australia Council for the Arts’ Tokyo studio residency. She spent the first six months of 1990 in Tokyo. While there, Fuji Film I&I sponsored her major work Mute, a cutting edge installation of giant suspended colour photographic film transparencies. Later that year, Mute was exhibited for three months as a solo exhibition at the Art Gallery of New South Wales.

Bette's numerous group exhibitions include, the Lady Fairfax Prize for Photography, Australian Perspecta 1991, Citigroup Private Bank Australian Photographic Portrait Award; National Photographic Portrait Prize, Olive Cotton Photographic Portrait Award (twice) and the Hazelhurst Award for Art on Paper.

As well as the Tokyo studio, Bette received four grants from The Australia Council for the Arts, and a Project Grant from the Australian Network for Art and Technology. In 2002, she was awarded a New South Wales Ministry for the Arts, Inaugural Western Sydney Artist Fellowship. In 2003, she won the Hazelhurst Art Award Major Prize.
In 2006, she was awarded an Australian Postgraduate Award from the Western Sydney University.

Bette’s artworks are held in private, corporate and public collections in Australia and overseas.

Mifsud Bette portrait of Ninette Duttonview full entry

Reference: see National Portrait gallery website:
‘In a Glance’ by Dr Sarah Engledow, 1 December 2004. Dr Sarah Engledow explores the portrait of Ninette Dutton by Bette Mifsud.
Portrait of Ninette Dutton, 2004 Dr Bette Mifsud. © Elizabeth Mifsud/Copyright Agency, 2022
Ninette Dutton OAM (b. 1923), artist, broadcaster and author, was born in Adelaide and educated at Creveen and Woodlands before studying Social Science at the University of Adelaide. In 1944 she married the writer Geoffrey Dutton.
They lived at Anlaby, the Duttons' family property at Kapunda, and later Piers Hill, a property near Angaston, before they separated in the early 1980s. During the 1950s she worked in Oxford and studied at the Ruskin School of Art and the couple travelled extensively and adventurously through Europe. Asia, Africa and the Middle East. In the 1960s she learned enamelling in Kansas; her ensuing enamel works were widely collected, and she wrote The Beautiful Art of Enamelling in 1966, In early 1968 she saved the life of Patrick White, a dear friend, by holding on to his arm when he fell into a blowhole on Kangaroo Island. Over the 1970s, 80s and 90s she published books and delivered radio programmes on cooking, flowers, gardening and the seasons, and for some years she wrote a column titled 'The Passionate Gardener' in the Advertiser, Adelaide. Her most recent book is Home (2000), which describes her decision to move from South Australia to Canberra.
Sydney born artist Bette Mifsud studied at the University of NSW College of Fine Arts. Master of Fine Arts with first class honours, after receiving a BA Visual Arts from Sydney College.
She has exhibited extensively and held many solo exhibitions in various Australian Galleries as well as at the National Museum of Fine Art, Malta. She has also participated in a wide array of national and international group exhibitions, most notably and recently at the 2004 Citygroup Private Bank Photographic Prize at the Art Gallery of NSW, in which this portrait was featured.
Mifsud and Dutton met in Katoomba about four years ago. In a recent statement Mifsud explained it was Dutton's warmth, toughness, beauty and sharp intellect that immediately struck her. She explained that she also wanted her portrait to capture something of the sitter's frailty.
While at first glance this is a straightforward portrait, it incorporates several portraits and within it there are layers of complexity and depth. In discussing the portrait Mifsud states that she is mindful of the fact that no single image can ever fully represent a living human being and as such, developed the complex image of Ninette 'reflected' in the mirror, which is also a treasured family heirloom. This was achieved by using four photographs of the sitter's face taken from slightly different angles, which have been overlaid. Mifsud explains the analogy of the mirror; which 'might also suggest that we always see ourselves differently to how others see us. In the mirror we all "Prepare a face to meet the faces that (we) meet" (T.S Eliot). We prepare different faces for different circumstances. I see the mirror as a type of photographic recorder of the countless invisible faces of an individual changing over time'.
By Dr Sarah Engledow

Mifsud Betteview full entry

Reference: Coming to Ground by Bette Mifsud
15 June – 28 August 2009 – University of Western Sydney Art Gallery. Includes biography. 15 works. Photographs.
Publishing details: University of Western Sydney, 2009, 4pp
Ref: 1000

French Connectionview full entry

Reference: French connection : Australia's cosmopolitan ambitions, by Alexis Bergantz.
Includes bibliographical references and index..
The French have been integral to the Australian story since European colonisation. Escaped convicts from New Caledonia, wool buyers from Lille, Roubaix and Tourcoing, gold-diggers, artisans, teachers and cafe owners, they were not always the creme de la creme. French Connection provides a fascinating insight into how the culture of Frenchness influenced a new nation anxious to prove itself to the world. What did Australian colonists see when they looked to France? How much did the French presence in the Pacific loom over such ideas? And what did the French in Australia themselves make of it all? Alexis Bergantz uncovers the little known and often surprising history of the French in nineteenth-century Australia and their role in creating a more connected and cosmopolitan nation.

Publishing details: NewSouth Publishing, 2021, (194 pages, [8] pages of plates) : illustrations (some colour).

Joseph Banks’ Florilegiumview full entry

Reference: Banks’ Florilegium. Banks' Florilegium was published between 1980 and 1990 in 34 parts by Alecto Historical Editions and the Natural History Museum, London. Only 100 sets were made available for sale. This set is number 56 of that original printing. In detail it is a collection of copperplate engravings of plants collected by Sir Joseph Banks and Daniel Solander while they accompanied Captain James Cook on his first voyage around the world between 1768 and 1771. They collected plants in Madeira, Brazil, Tierra del Fuego, the Society Islands, New Zealand, Australia and Java. During this voyage, Banks and Solander collected nearly 30,000 dried specimens, eventually leading to the description of 110 new genera and 1300 new species, which increased the known flora of the world by 25 per cent. Banks' and Solander's specimens were studied aboard the Endeavour by the botanical illustrator Sydney Parkinson. He made 674 detailed drawings of each specimen with notes on their colour, and completed 269 watercolour illustrations before dying of dysentery after the Endeavour left Batavia. When they returned to London in 1771, Banks employed five artists to create watercolours of all of Parkinson's drawings, and 18 engravers to create 743 copperplate line engravings from the completed watercolours at a considerable cost. The engraving work stalled in 1784, and the Florilegium was not printed in Banks' lifetime. On his death in 1820 he bequeathed the plates to the British Museum. The plates were printed using a 17th-century technique known as à la poupée where each colour was applied directly to the plate; colour accuracy was checked against Parkinson's notes and through consultation with the museum's Botanical Editor, Chris Humphries. Each plate took from one week to two months to proof. Chris Humphries worked closely with his colleague, the Botany Librarian Judith Diment, as well as the printers led by Edward Egerton-Williams, the typesetters led by Ian Mortimer and colleagues at Alecto Historical Editions including Nigel Frith, Laurence Hoffman and Elaine Shaughnessy. Parts 1 to 15 consist of 337 plates relating to the Australian flora, parts 16 to 34 include Brazil, Madeira, New Zealand, Java, Society Islands and Tierra del Fuego. Banks’ Florilegium is the world's largest 20th-century fine art printing project, and has been exhibited all over the world. The Alecto Historical edition of Banks' Florilegium was purchased in Australia by the State Library of Victoria,& the State Library of New South Wales, and the State Library of Queensland. This set contains the following Print numbers,- 11 unopened boxes 516-743 227 plates - Editions 338 to 515 complete (177 plates. Incomplete 46-337 containing 271 plates. Total 675 from the set.
This information frrom: Vickers & Hoad
Sale Description: Waterloo Auction - Timed Online Only. Sale Date: 08/01/2024 to 12/01/2024
Publishing details: Alecto Historical Editions and the Natural History Museum, London.1980-90. Edition of 100.
Ref: 1000

Tischbauer Alfred p120-21view full entry

Reference: see French connection : Australia's cosmopolitan ambitions, by Alexis Bergantz.
Includes bibliographical references and index..
The French have been integral to the Australian story since European colonisation. Escaped convicts from New Caledonia, wool buyers from Lille, Roubaix and Tourcoing, gold-diggers, artisans, teachers and cafe owners, they were not always the creme de la creme. French Connection provides a fascinating insight into how the culture of Frenchness influenced a new nation anxious to prove itself to the world. What did Australian colonists see when they looked to France? How much did the French presence in the Pacific loom over such ideas? And what did the French in Australia themselves make of it all? Alexis Bergantz uncovers the little known and often surprising history of the French in nineteenth-century Australia and their role in creating a more connected and cosmopolitan nation.

Publishing details: NewSouth Publishing, 2021, (194 pages, [8] pages of plates) : illustrations (some colour).

Beer Leslie p24view full entry

Reference: see French connection : Australia's cosmopolitan ambitions, by Alexis Bergantz.
Includes bibliographical references and index..
The French have been integral to the Australian story since European colonisation. Escaped convicts from New Caledonia, wool buyers from Lille, Roubaix and Tourcoing, gold-diggers, artisans, teachers and cafe owners, they were not always the creme de la creme. French Connection provides a fascinating insight into how the culture of Frenchness influenced a new nation anxious to prove itself to the world. What did Australian colonists see when they looked to France? How much did the French presence in the Pacific loom over such ideas? And what did the French in Australia themselves make of it all? Alexis Bergantz uncovers the little known and often surprising history of the French in nineteenth-century Australia and their role in creating a more connected and cosmopolitan nation.

Publishing details: NewSouth Publishing, 2021, (194 pages, [8] pages of plates) : illustrations (some colour).

Paul Mrs E p24view full entry

Reference: see French connection : Australia's cosmopolitan ambitions, by Alexis Bergantz.
Includes bibliographical references and index..
The French have been integral to the Australian story since European colonisation. Escaped convicts from New Caledonia, wool buyers from Lille, Roubaix and Tourcoing, gold-diggers, artisans, teachers and cafe owners, they were not always the creme de la creme. French Connection provides a fascinating insight into how the culture of Frenchness influenced a new nation anxious to prove itself to the world. What did Australian colonists see when they looked to France? How much did the French presence in the Pacific loom over such ideas? And what did the French in Australia themselves make of it all? Alexis Bergantz uncovers the little known and often surprising history of the French in nineteenth-century Australia and their role in creating a more connected and cosmopolitan nation.

Publishing details: NewSouth Publishing, 2021, (194 pages, [8] pages of plates) : illustrations (some colour).

Buckie Harry p139view full entry

Reference: see French connection : Australia's cosmopolitan ambitions, by Alexis Bergantz.
Includes bibliographical references and index..
The French have been integral to the Australian story since European colonisation. Escaped convicts from New Caledonia, wool buyers from Lille, Roubaix and Tourcoing, gold-diggers, artisans, teachers and cafe owners, they were not always the creme de la creme. French Connection provides a fascinating insight into how the culture of Frenchness influenced a new nation anxious to prove itself to the world. What did Australian colonists see when they looked to France? How much did the French presence in the Pacific loom over such ideas? And what did the French in Australia themselves make of it all? Alexis Bergantz uncovers the little known and often surprising history of the French in nineteenth-century Australia and their role in creating a more connected and cosmopolitan nation.

Publishing details: NewSouth Publishing, 2021, (194 pages, [8] pages of plates) : illustrations (some colour).

Foy Alice p23-4view full entry

Reference: see French connection : Australia's cosmopolitan ambitions, by Alexis Bergantz.
Includes bibliographical references and index..
The French have been integral to the Australian story since European colonisation. Escaped convicts from New Caledonia, wool buyers from Lille, Roubaix and Tourcoing, gold-diggers, artisans, teachers and cafe owners, they were not always the creme de la creme. French Connection provides a fascinating insight into how the culture of Frenchness influenced a new nation anxious to prove itself to the world. What did Australian colonists see when they looked to France? How much did the French presence in the Pacific loom over such ideas? And what did the French in Australia themselves make of it all? Alexis Bergantz uncovers the little known and often surprising history of the French in nineteenth-century Australia and their role in creating a more connected and cosmopolitan nation.

Publishing details: NewSouth Publishing, 2021, (194 pages, [8] pages of plates) : illustrations (some colour).

Fauchery Antoine p81-8view full entry

Reference: see French connection : Australia's cosmopolitan ambitions, by Alexis Bergantz.
Includes bibliographical references and index..
The French have been integral to the Australian story since European colonisation. Escaped convicts from New Caledonia, wool buyers from Lille, Roubaix and Tourcoing, gold-diggers, artisans, teachers and cafe owners, they were not always the creme de la creme. French Connection provides a fascinating insight into how the culture of Frenchness influenced a new nation anxious to prove itself to the world. What did Australian colonists see when they looked to France? How much did the French presence in the Pacific loom over such ideas? And what did the French in Australia themselves make of it all? Alexis Bergantz uncovers the little known and often surprising history of the French in nineteenth-century Australia and their role in creating a more connected and cosmopolitan nation.

Publishing details: NewSouth Publishing, 2021, (194 pages, [8] pages of plates) : illustrations (some colour).

Lindsay Norman numerous references view full entry

Reference: see French connection : Australia's cosmopolitan ambitions, by Alexis Bergantz.
Includes bibliographical references and index..
The French have been integral to the Australian story since European colonisation. Escaped convicts from New Caledonia, wool buyers from Lille, Roubaix and Tourcoing, gold-diggers, artisans, teachers and cafe owners, they were not always the creme de la creme. French Connection provides a fascinating insight into how the culture of Frenchness influenced a new nation anxious to prove itself to the world. What did Australian colonists see when they looked to France? How much did the French presence in the Pacific loom over such ideas? And what did the French in Australia themselves make of it all? Alexis Bergantz uncovers the little known and often surprising history of the French in nineteenth-century Australia and their role in creating a more connected and cosmopolitan nation.

Publishing details: NewSouth Publishing, 2021, (194 pages, [8] pages of plates) : illustrations (some colour).

Barnes Henry photographerview full entry

Reference: see Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893 by Vanessa Finney. [’The groundbreaking scientific photographs of Australian Museum curator Gerard Krefft and taxidermist Henry Barnes are revealed for the first time.

In the mid-nineteenth century, scientists around the world were quick to see photography’s huge potential for capturing fleeting moments of life, death and discovery. At the Australian Museum, curator Gerard Krefft and taxidermist Henry Barnes began to experiment with the revolutionary new art form, preparing and staging their specimens — from whales and giant sunfish to lifelike lyre bird scenes and fossils — and documenting them in thousands of arresting images.
Capturing Nature reveals these groundbreaking photographs for the first time, along with the Australian Museum’s urgent quest to become more scientific in its practices.’] [to be indexed]
Publishing details: NewSouth, 2019, Paperback, 192pp

Barnes Henry Jnr photographerview full entry

Reference: see Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893 by Vanessa Finney. [’The groundbreaking scientific photographs of Australian Museum curator Gerard Krefft and taxidermist Henry Barnes are revealed for the first time.

In the mid-nineteenth century, scientists around the world were quick to see photography’s huge potential for capturing fleeting moments of life, death and discovery. At the Australian Museum, curator Gerard Krefft and taxidermist Henry Barnes began to experiment with the revolutionary new art form, preparing and staging their specimens — from whales and giant sunfish to lifelike lyre bird scenes and fossils — and documenting them in thousands of arresting images.
Capturing Nature reveals these groundbreaking photographs for the first time, along with the Australian Museum’s urgent quest to become more scientific in its practices.’] [to be indexed]
Publishing details: NewSouth, 2019, Paperback, 192pp

Krefft Gerard view full entry

Reference: see Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893 by Vanessa Finney. [’The groundbreaking scientific photographs of Australian Museum curator Gerard Krefft and taxidermist Henry Barnes are revealed for the first time.

In the mid-nineteenth century, scientists around the world were quick to see photography’s huge potential for capturing fleeting moments of life, death and discovery. At the Australian Museum, curator Gerard Krefft and taxidermist Henry Barnes began to experiment with the revolutionary new art form, preparing and staging their specimens — from whales and giant sunfish to lifelike lyre bird scenes and fossils — and documenting them in thousands of arresting images.
Capturing Nature reveals these groundbreaking photographs for the first time, along with the Australian Museum’s urgent quest to become more scientific in its practices.’] [to be indexed]
Publishing details: NewSouth, 2019, Paperback, 192pp

Kerry Charles p170view full entry

Reference: see Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893 by Vanessa Finney. [’The groundbreaking scientific photographs of Australian Museum curator Gerard Krefft and taxidermist Henry Barnes are revealed for the first time.

In the mid-nineteenth century, scientists around the world were quick to see photography’s huge potential for capturing fleeting moments of life, death and discovery. At the Australian Museum, curator Gerard Krefft and taxidermist Henry Barnes began to experiment with the revolutionary new art form, preparing and staging their specimens — from whales and giant sunfish to lifelike lyre bird scenes and fossils — and documenting them in thousands of arresting images.
Capturing Nature reveals these groundbreaking photographs for the first time, along with the Australian Museum’s urgent quest to become more scientific in its practices.’] [to be indexed]
Publishing details: NewSouth, 2019, Paperback, 192pp

Blandowski expeditionview full entry

Reference: see Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893 by Vanessa Finney. [’The groundbreaking scientific photographs of Australian Museum curator Gerard Krefft and taxidermist Henry Barnes are revealed for the first time.

In the mid-nineteenth century, scientists around the world were quick to see photography’s huge potential for capturing fleeting moments of life, death and discovery. At the Australian Museum, curator Gerard Krefft and taxidermist Henry Barnes began to experiment with the revolutionary new art form, preparing and staging their specimens — from whales and giant sunfish to lifelike lyre bird scenes and fossils — and documenting them in thousands of arresting images.
Capturing Nature reveals these groundbreaking photographs for the first time, along with the Australian Museum’s urgent quest to become more scientific in its practices.’] [to be indexed]
Publishing details: NewSouth, 2019, Paperback, 192pp

Contemporary Australian Tapestriesview full entry

Reference: Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Andrews Daisy tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Atkins Peter tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Bentinck Island Artists tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Boag Yvonne tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Bot G W tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Boyd Arthur tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Brennan Angela tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Carchesio Eugene tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Cattapan Jon tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Coburn John tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Cole Peter D tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Cooks Andrew tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Dumbrell Merrill tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Eirth Merrin tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Forthun Louise tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Fox Belinda tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Green Rona tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Hattam Katherine tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Heron Patrick tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Ingpen Robert tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Jones Peggy Napangardi tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Kemp Roger tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Klein Deborah tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Kngwarray Emily Kam tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Ling Song tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Lohr Alf tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Lovegrove Sue tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

McLean Mary tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Merrett Lara tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Mombassa Reg tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Munduwalawala Ginger Riley tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Riley Ginger Munduwalawala tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Nakamarra Elizabeth marks tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Napangati Bai Bai tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Napangati Nanyuma tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Nell tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Nickolls Trevor tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Noonan David tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Perrson Stieg tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Olsen John tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Qureshi Nusra Latif tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Sansom Gareth tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Sheikh Gulammohammed tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Todd Yvonne tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Stella Frank tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Utzon Jorn tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Watson Nyankulya tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Whisson Ken tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Wolseley John tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Woo Ian tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Young John tapestryview full entry

Reference: see Contemporary Australian Tapestries, Australian Tapestry Workshop. Includes biographical information on artists, bibliographical references (p. 88) and index.
Publishing details: Australian Tapestry Workshop, 2010, 93pp. : col. ill., col. ports

Thorpe John Aview full entry

Reference: see Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893 by Vanessa Finney. [’The groundbreaking scientific photographs of Australian Museum curator Gerard Krefft and taxidermist Henry Barnes are revealed for the first time.

In the mid-nineteenth century, scientists around the world were quick to see photography’s huge potential for capturing fleeting moments of life, death and discovery. At the Australian Museum, curator Gerard Krefft and taxidermist Henry Barnes began to experiment with the revolutionary new art form, preparing and staging their specimens — from whales and giant sunfish to lifelike lyre bird scenes and fossils — and documenting them in thousands of arresting images.
Capturing Nature reveals these groundbreaking photographs for the first time, along with the Australian Museum’s urgent quest to become more scientific in its practices.’] [to be indexed]
Publishing details: NewSouth, 2019, Paperback, 192pp

Flett James portrait of by Constance Stokesview full entry

Reference: see Constance Stokes - Art & Life, by Lucilla Wyborn d’Abrera. [’Constance Stokes might arguably be described as perhaps the most joyful but paradoxically neglected of the great Australian artists who were alive between and after the wars.
Constance Stokes: Art & Life, researched and written by her daughter Lucilla Wyborn d’Abrera, is the first serious book to be published devoted exclusively to the life and works of Constance Stokes. Also included are two major essays by renowned art historians and authors, Dr. Jane Clark and Felicity St. John Moore. The Foreword is engagingly written in her inimitable style by the author/journalist, Anne Summers.

Constance Stokes (1906-1991) was one of Australia’s truly great artists, first trained at the National Gallery School of Victoria. In 1931 she won the Travelling Scholarship to the Royal Academy in London, where she perfected her draughtsmanship in the European classical style. Later she went to Paris to work with the renowned Cubist and master of colour, Andre Lhote. She is represented in most major galleries in Australia, and her works are keenly sought after by private collectors and galleries throughout Australia and in Europe.’]
Publishing details: Hill House Publishers , 2015, 234 pages, full colour throughout
Dimensions 315 x 260 cm.
Laminated dust jacked, hard cover and square back binding.

Redwood Pascoe art student p36view full entry

Reference: see Constance Stokes - Art & Life, by Lucilla Wyborn d’Abrera. [’Constance Stokes might arguably be described as perhaps the most joyful but paradoxically neglected of the great Australian artists who were alive between and after the wars.
Constance Stokes: Art & Life, researched and written by her daughter Lucilla Wyborn d’Abrera, is the first serious book to be published devoted exclusively to the life and works of Constance Stokes. Also included are two major essays by renowned art historians and authors, Dr. Jane Clark and Felicity St. John Moore. The Foreword is engagingly written in her inimitable style by the author/journalist, Anne Summers.

Constance Stokes (1906-1991) was one of Australia’s truly great artists, first trained at the National Gallery School of Victoria. In 1931 she won the Travelling Scholarship to the Royal Academy in London, where she perfected her draughtsmanship in the European classical style. Later she went to Paris to work with the renowned Cubist and master of colour, Andre Lhote. She is represented in most major galleries in Australia, and her works are keenly sought after by private collectors and galleries throughout Australia and in Europe.’]
Publishing details: Hill House Publishers , 2015, 234 pages, full colour throughout
Dimensions 315 x 260 cm.
Laminated dust jacked, hard cover and square back binding.

Officer Mervyn art student p20-view full entry

Reference: see Constance Stokes - Art & Life, by Lucilla Wyborn d’Abrera. [’Constance Stokes might arguably be described as perhaps the most joyful but paradoxically neglected of the great Australian artists who were alive between and after the wars.
Constance Stokes: Art & Life, researched and written by her daughter Lucilla Wyborn d’Abrera, is the first serious book to be published devoted exclusively to the life and works of Constance Stokes. Also included are two major essays by renowned art historians and authors, Dr. Jane Clark and Felicity St. John Moore. The Foreword is engagingly written in her inimitable style by the author/journalist, Anne Summers.

Constance Stokes (1906-1991) was one of Australia’s truly great artists, first trained at the National Gallery School of Victoria. In 1931 she won the Travelling Scholarship to the Royal Academy in London, where she perfected her draughtsmanship in the European classical style. Later she went to Paris to work with the renowned Cubist and master of colour, Andre Lhote. She is represented in most major galleries in Australia, and her works are keenly sought after by private collectors and galleries throughout Australia and in Europe.’]
Publishing details: Hill House Publishers , 2015, 234 pages, full colour throughout
Dimensions 315 x 260 cm.
Laminated dust jacked, hard cover and square back binding.

Johnston George art student p21 and possibly elsewhere in bookview full entry

Reference: see Constance Stokes - Art & Life, by Lucilla Wyborn d’Abrera. [’Constance Stokes might arguably be described as perhaps the most joyful but paradoxically neglected of the great Australian artists who were alive between and after the wars.
Constance Stokes: Art & Life, researched and written by her daughter Lucilla Wyborn d’Abrera, is the first serious book to be published devoted exclusively to the life and works of Constance Stokes. Also included are two major essays by renowned art historians and authors, Dr. Jane Clark and Felicity St. John Moore. The Foreword is engagingly written in her inimitable style by the author/journalist, Anne Summers.

Constance Stokes (1906-1991) was one of Australia’s truly great artists, first trained at the National Gallery School of Victoria. In 1931 she won the Travelling Scholarship to the Royal Academy in London, where she perfected her draughtsmanship in the European classical style. Later she went to Paris to work with the renowned Cubist and master of colour, Andre Lhote. She is represented in most major galleries in Australia, and her works are keenly sought after by private collectors and galleries throughout Australia and in Europe.’]
Publishing details: Hill House Publishers , 2015, 234 pages, full colour throughout
Dimensions 315 x 260 cm.
Laminated dust jacked, hard cover and square back binding.

Hall Lindsay Bernard p22-24 and possibly elsewhere in bookview full entry

Reference: see Constance Stokes - Art & Life, by Lucilla Wyborn d’Abrera. [’Constance Stokes might arguably be described as perhaps the most joyful but paradoxically neglected of the great Australian artists who were alive between and after the wars.
Constance Stokes: Art & Life, researched and written by her daughter Lucilla Wyborn d’Abrera, is the first serious book to be published devoted exclusively to the life and works of Constance Stokes. Also included are two major essays by renowned art historians and authors, Dr. Jane Clark and Felicity St. John Moore. The Foreword is engagingly written in her inimitable style by the author/journalist, Anne Summers.

Constance Stokes (1906-1991) was one of Australia’s truly great artists, first trained at the National Gallery School of Victoria. In 1931 she won the Travelling Scholarship to the Royal Academy in London, where she perfected her draughtsmanship in the European classical style. Later she went to Paris to work with the renowned Cubist and master of colour, Andre Lhote. She is represented in most major galleries in Australia, and her works are keenly sought after by private collectors and galleries throughout Australia and in Europe.’]
Publishing details: Hill House Publishers , 2015, 234 pages, full colour throughout
Dimensions 315 x 260 cm.
Laminated dust jacked, hard cover and square back binding.

Rowell John p28 and possibly elsewhere in bookview full entry

Reference: see Constance Stokes - Art & Life, by Lucilla Wyborn d’Abrera. [’Constance Stokes might arguably be described as perhaps the most joyful but paradoxically neglected of the great Australian artists who were alive between and after the wars.
Constance Stokes: Art & Life, researched and written by her daughter Lucilla Wyborn d’Abrera, is the first serious book to be published devoted exclusively to the life and works of Constance Stokes. Also included are two major essays by renowned art historians and authors, Dr. Jane Clark and Felicity St. John Moore. The Foreword is engagingly written in her inimitable style by the author/journalist, Anne Summers.

Constance Stokes (1906-1991) was one of Australia’s truly great artists, first trained at the National Gallery School of Victoria. In 1931 she won the Travelling Scholarship to the Royal Academy in London, where she perfected her draughtsmanship in the European classical style. Later she went to Paris to work with the renowned Cubist and master of colour, Andre Lhote. She is represented in most major galleries in Australia, and her works are keenly sought after by private collectors and galleries throughout Australia and in Europe.’]
Publishing details: Hill House Publishers , 2015, 234 pages, full colour throughout
Dimensions 315 x 260 cm.
Laminated dust jacked, hard cover and square back binding.

Bell George p28 and possibly elsewhere in bookview full entry

Reference: see Constance Stokes - Art & Life, by Lucilla Wyborn d’Abrera. [’Constance Stokes might arguably be described as perhaps the most joyful but paradoxically neglected of the great Australian artists who were alive between and after the wars.
Constance Stokes: Art & Life, researched and written by her daughter Lucilla Wyborn d’Abrera, is the first serious book to be published devoted exclusively to the life and works of Constance Stokes. Also included are two major essays by renowned art historians and authors, Dr. Jane Clark and Felicity St. John Moore. The Foreword is engagingly written in her inimitable style by the author/journalist, Anne Summers.

Constance Stokes (1906-1991) was one of Australia’s truly great artists, first trained at the National Gallery School of Victoria. In 1931 she won the Travelling Scholarship to the Royal Academy in London, where she perfected her draughtsmanship in the European classical style. Later she went to Paris to work with the renowned Cubist and master of colour, Andre Lhote. She is represented in most major galleries in Australia, and her works are keenly sought after by private collectors and galleries throughout Australia and in Europe.’]
Publishing details: Hill House Publishers , 2015, 234 pages, full colour throughout
Dimensions 315 x 260 cm.
Laminated dust jacked, hard cover and square back binding.

Newbury Sidney p37 and possibly elsewhere in bookview full entry

Reference: see Constance Stokes - Art & Life, by Lucilla Wyborn d’Abrera. [’Constance Stokes might arguably be described as perhaps the most joyful but paradoxically neglected of the great Australian artists who were alive between and after the wars.
Constance Stokes: Art & Life, researched and written by her daughter Lucilla Wyborn d’Abrera, is the first serious book to be published devoted exclusively to the life and works of Constance Stokes. Also included are two major essays by renowned art historians and authors, Dr. Jane Clark and Felicity St. John Moore. The Foreword is engagingly written in her inimitable style by the author/journalist, Anne Summers.

Constance Stokes (1906-1991) was one of Australia’s truly great artists, first trained at the National Gallery School of Victoria. In 1931 she won the Travelling Scholarship to the Royal Academy in London, where she perfected her draughtsmanship in the European classical style. Later she went to Paris to work with the renowned Cubist and master of colour, Andre Lhote. She is represented in most major galleries in Australia, and her works are keenly sought after by private collectors and galleries throughout Australia and in Europe.’]
Publishing details: Hill House Publishers , 2015, 234 pages, full colour throughout
Dimensions 315 x 260 cm.
Laminated dust jacked, hard cover and square back binding.

Who’s Who of Australian Womenview full entry

Reference: Who’s Who of Australian Women, compiled by Andrea Lofthouse, based on research by Vivienne Smith. Includes biographies of almost 1500 Australian women, arranged in alphabetical order.
Publishing details: Methuen Australia, 1982, 504 pp, hc, dw.

Allen Mickyview full entry