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

Matthews Neville essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Owen Robert essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Lewers Margo essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Nixon John essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Poliness Kerrie essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Johnson George essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Nolan Rose essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Bennett Gordon essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Cripps Peter essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Croggon Zoe essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Williams Justene essay onview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Bram Stephen 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Andrews Justin 5 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Carchesion Eugene 2 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Clark-Coolie Bronwyn 3 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Cotton Olive 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Cripps Peter 2 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Crowley Grace 3 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Floyd Emily 5 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Dupain Max 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Floyd Emily 5 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Galea Mark 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Gawronski Alex 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Georgetti Diena 4 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Harpur Melinda 8 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Haseman Shane 2 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Hinder Frank 9 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Ishak Raafat 2 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Ishak Raafat 2 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Nicholson Tom 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

King Inge 4 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Lawler Adrian 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Leber Sonia 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Chesworth David 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Lewers Gerald 2 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Mangano Gabriella and Silvana 3 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Matthews Neville 2 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Noonan David 7 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Ostoja-Kotkowski Stanislaus 2 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Owen Robert 5 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Rooney Robert 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Selenitsch Alex 4 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Savvas Nike 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Ryan Gerald 1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Smart Sally 3 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Stewart Esther 4 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Thomas David 3 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Turnbull Meredith 6 works illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Watkins Dick1 work illustratedview full entry

Reference: see Call of the avant-garde: constructivism and Australian art, by Sue Cramer, Lesley Harding. [’For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art’s vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day. A remarkable artistic experiment arising out of the social and political ferment of the Russian Revolution of 1917 Constructivism challenged the idea of the work of art as a unique commodity, explored more collective ways of working, and sought to integrate art into everyday life. Its newly invented language of abstract forms was first seen as early as 1913 in the works of Vladimir Tatlin, Alexander Rodchenko, and Varvara Stepanova among others, and in the paintings of Kasimir Malevich who founded the distinct but closely related movement of Suprematism. The influence of these movements spread to Europe and Britain becoming more broadly known as International Constructivism, and even further afield to Australia, generating local variations in each place.

Publishing details: Bulleen, Vic. Heide Museum of Modern Art, 2017. hc, 162pp

Vaughn-James Martinview full entry

Reference: see Kunstauktionshaus Schloss Ahlden, 30.11.24, lot 1847: Martin Vaughn-James (1943 Bristol - 2009 Provence)
"Le Parc". Original title
Characteristic work by Vaughn-James, who studied at the National Art School in Sydney. Born in England, he moved to Australia with his family in 1958 and emigrated to Canada with his wife in 1968. In 1977, the couple settled in France before moving to Belgium. Vaughn-James created a series of graphic novels in the 1970s and worked as a cartoonist and illustrator. From the mid-1980s, he focussed on painting. Mixed media/canvas. Signed and dated (lower right). (20)05. Titled and inscribed on a label verso; 60.6 cm x 50 cm. Frame.
Mixed media on canvas. Signed and dated (20)05. Inscribed with title on a label on the reverse.

Hurley Framk 31 New Guinea photographs at auctionview full entry

Reference: see Trevanion Auctioneers & Valuers, UK, lot 488:
FRANK HURLEY (Australian, 1895-1962), thirty one photographic prints taken by Hurley between 1920 and 1923 on his expeditions along the Papuan coast and hinterland, re-printed from the original glass negatives prior to the publication of Specht (Jim) and Fields (John), FRANK HURLEY IN PAPUA -PHOTOGRAPHS OF THE 1920-1923 EXPEDITIONS, each sheet 24cm x 30cm, unframed (31)
Comprising;
Print 1 - Interior of longhouse at Adulu Village, near the mouth of the Fly River, Western Province. 2-5 December 1922.
Print 2 - Allan McCulloch with Lake Murray artefacts and skulls in the grounds of the museum, Port Moresby, National Capital District. 16-17 January 1923.
Print 3 - Entrance of Kau ravi, Kaimari village, Gulf Province.
Print 4 - Two men of Mondo village, Central Province. 22nd July 1921.
Print 5 - Two basketry figures in front of a daima at Tovei, Urama Island, Gult Province, 26 June 1921.
Print 6 - Singing contest at Inawaia village, Central Province. 4 August 1921.
Print 7 - Dilava Roman Catholic Mission, Central Province, 9-10th July 1921.
Print 8 - Man of Dilava village, Central Province, 29 July 1921.
Print 9 - Mailu men refurbishing two doubel-hulled canoes, Central Province. 7-11 June 1921.
Print 10 - Binandere man chewing betel nut at Eroro village, near Oro Bay, Oro Province. 29 April 1921.
Print 11 - Women in mourning dress, Adulu village, near the mouth of the Fly River, Western Province. 2-5 December 1922.
Print 12- Interior of Kau ravi at Kaimari village, Gulf Province.
Print 13 - Mailu women preparing vines as canoe lashings, Central Province. 7-11 June 1921.
Print 14 - Village scene on Urama Island, Gulf Province.
Print 15 - Hula village, Central Province. 13-14 June. 1921.
Print 16- Binandere men on house verandah, Eo village, Dyke Ackland Bay, Oro Province. April-May 1921.
Print 17 - Mailu village, Amazon Bay, Central Province. 7-11 June 1921.
Print 18 - The Eureka on Lake Murray, Western Province. 15-24 November 1922.
Print 19 - Binandere woman, Ambasi village, Oro Province. 18-23 April 1921.
Print 20 - Man of Urama Island wearing mourning bands, Gult Province.
Print 21 - Two singer from the singing contest at Inawaia Village, Central Province. 4 August 1921.
Print 22 - Man of Goaribari Island, Gulf Province. 3 January 1923?
Print 23 - Carving an arrowhead, Babai village, Gulf Province. 5 January 1923.
Print 24 - Man lashing the platform on a canoe, Ambasi village, Oro Province. 18-23 April 1921.
Print 25 - Man of Kerewa regrinding a stone adze, Goaribari Island, Gulf Province. 4 January 1923.
Print 26 - Two girls of Elevala village, near Port Moresby, National Capital District. 2 April 1921?
Print 27 - A group of dancers in front of the daima at Kinomere, Urama Island, Gulf Province. 7 January 1923.
Print 28 - Village scene at Boianai, Goodenough Bay, Milne Bay Province. 25 May 1921.
Print 29 - Canoe sail at Mailu, Central Province. 7-11 June 1921.
Print 30 - Man in mourning, Kaimari village, Gulf Province.
Print 31 - Allan McCulloch sending a wireless message on board the Eureka. 5-11 November 1922.
NOTE: A copy of the Specht & Fields book will be provided to the winner of this lot. Footnote; Frank Hurley (1885–1962). An Australian photographer and filmmaker known for his adventurous spirit and pioneering work in documentary photography. One of his notable expeditions took him to Papua (then part of New Guinea) in 1920, where he documented the indigenous cultures and landscapes of the region. His photographs from this visit showcased not only the natural beauty of Papua but also the lives and traditions of its people, capturing the complexities of a world on the brink of change due to colonial influences. Hurley is also famed for his work during World War I, where he served as an official war correspondent, capturing haunting images of the Western Front and Gallipoli. Additionally, he gained recognition for his photography of Antarctica during the Australian Antarctic Expedition (1911–1914) and his involvement in the ill-fated Mawson expedition (1912–1913). His work from Papua, along with these other significant contributions, remains important for its artistic merit and its historical context, providing valuable insights into early 20th-century exploration and representation of indigenous cultures.

Anson's Photographs, Wellington Bridge, Hobartview full entry

Reference: see Chilcotts auction, UK, 16.11.24:Australian Topography; A late 19thC album of twenty-three albumin print photographs of Tasmania, c.1890, bearing label on inside of front cover for 'Anson's Photographs, Wellington Bridge, Hobart', with views of Hobart, Port Arthur, Mt. Wellington, Model Prison, Eaglehawk Neck etc., in contemporary half maroon leather album, with gilt lettering 'Tasmanian Scenes', some foxing and fading, see images.

Higgs Florence M view full entry

Reference: see Lawrences of Bletchingley, UK, 26-28 November, 2024, lot 1168: Florence M. Higgs (Australian), artist proof woodblock print of Limpsfield, Surrey, with church to the foreground, signed, 31 x 41cm

Crutch Kari view full entry

Reference: see Lawsons, The Ed & Kari Crutch Collection - A Church Point Home Contents Auction, 24 November 2024:
Lot 175
KARI CRUTCH, 3 works, larger Still life with flathead and lemons, oil on board, 37 x 40cm frame size 44 x 48
Lot 176
KARI CRUTCH, Ireland scenes four works, oil on board, largest 29 x 40cm frame size 37 x 48cm

Duldig Karl 8 refs and Eva de Jong-Duldig and Slawa Duldigview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

de Jong-Duldig Eva 6 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Engel Theodor 7 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Fabian Erwin 11 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Friedeberger Klaus 8 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Heckroth Hein 3 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Hirschfeld-Mack Ludwig numerous refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Lowen Fred numerous refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Loewenstein Fritz see Fred Lowen numerous refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Medworth Frank 1 refview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Newton Helmut numerous refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Sievers Wolfgang 1 refview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Talbot Henry 5 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Teltscher George 4 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Witten Emil numerous refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Schonbach Fritz biog p52-60 etcview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Wittenberg later Witten Emil numerous refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Hofmann Robert 6 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Landauer Alfred 3 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Posner Leonhard 2 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Lippmann Heinz or Henry 4 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Glass Paul 2 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Stadlen Peter 3 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Neuwahl Hans or Johnny 4 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Adam Leonhard numerous refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Braun Robert Felix Emil 2 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Meilich Ludwig 1 refview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Winkler Kurt 5 refview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Schatzki Paul 2 refsview full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Valentin Hermann p290-96view full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Laufer Ulrich p325view full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Steinmetz Wolfgang p325view full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Oschinsky Friedrich p340view full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Heydon June photographer p413view full entry

Reference: see Dunera Lives - A Visual History. By Ken Inglis, Seumas Spark and Jay Winter with Carol Bunyan. Well illustrated with artworks by Dunera artists. With Index. [’In July 1940, around 2000 refugees, most of whom were Jewish and from Germany or Austria, were sent from Britain to Australia on the HMT Dunera. The story of the ‘Dunera boys’ is an intrinsic part of the history of Australia in the Second World War and in its aftermath. The injustice these men suffered in internment camps at Hay, Tatura and Orange is well known. Less familiar is the tale of what happened to them afterwards.

Publishing details: Monash University Press, 2018, Paperback, 550pp.

Rowbotham Walter artist and teacher essays on and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

war artistsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Waller Mervyn Napier work illustrated refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

AIF Artistsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

mural paintingview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

British Empire Exhibition 1924-5view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Dancey George essays on and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

McInnes William Beckwith essay on, works illustrated view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Harcourt Clewin essay on and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Hall Lindsay Bernard essays on and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Heysen Hans essay on and work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

art market early twentieth centuryview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lindsay Lionelview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Degan Mary nee Dalley re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Dalley Mary re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Honey C Winifred re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Bell George re Australia House decoration London and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Baker Christina Asquith re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Brodsky Horace re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Evergood Miles re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Blashki Myer re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Burgess Athur J W re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Bryant Charles re Australia House decoration London and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Bowles Leslie re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Coates George re Australia House decoration London, and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Meeson Dora re Australia House decoration London, works illustrated view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Cohen Isaac Michael re Australia House decoration London, and works are referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Dyson Will re Australia House decoration London, and work are illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Davidson Bessie re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Davies David re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Fullwood Henry re Australia House decoration London, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Fox Emanuael Phillips re Australia House decoration London and some works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Gibson Bessie re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Goodsir Agnes re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Gilbert C Web re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Hope Edith A re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Leist Fred re Australia House decoration London, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lambert George W re Australia House decoration London, many refs, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lever Hayley re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Longstaff John re Australia House decoration London, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lindsay Ruby re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Long Sid re Australia House decoration London, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Macpherson Margaret later Preston re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Preston Margaret re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Minns B E re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Mahony Frank re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Norris Bess later Tait re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Tait Bess Norris later Tait re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Quinn James Peter re Australia House decoration London, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Parker Harold re Australia House decoration London, works referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Rae Iso re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Rae Alison re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Roberts Tom re Australia House decoration London, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Ritchie Charles E re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Nicholas Hilda Rix re Australia House decoration London, and essay on, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Reynell Gladys re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Streeton Arthur re Australia House decoration London, mural painting and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Spence Percy F S re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

King Justine re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Taylor Laurie re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Tayler Laurie (misspelt Taylor) re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Butler-George May re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

George May Butler re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Weeburight Roland re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Wolinski Joseph re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Wheeler Charles re Australia House decoration London, essay on, works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Young Blamire re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Bunny Rupert re Australia House decoration London, and works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Joel Grace re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Babbage Herbert Ivan re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lawson M S re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Teague Isobel re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Teague George Herbert Birrell re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Teague Violet Helen re Australia House decoration London and works referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Ashton Julian Rossi re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

O’Kennedy E K re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

MacKenzie Alexander Marshall architect re Australia House decoration Londonview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Mackennal Bertram re Australia House decoration London, works referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Ashton James work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Barnes Clement work referenced fauna of Australiaview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Benson George Courtney works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Boyd Penleigh works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Cameron William trade banner illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Carter Norman work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Colquhoun Amalie works referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Daly Herbert James work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Crozier Frank works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Dunstan W G works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Fischer Auguste work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Folingsby George work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Forrest Haughton work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Gruner Elioth works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Hansen Theodore Brooke work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Herbert Harold work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Jenkins Constance work referenced with Eric Spencer Mackyview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

McCubbin Louis work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Laycock Gladys later Mrs D’Arcy Osbourne work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Osbourne Mrs D’Arcy nee Laycock Gladys work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lindsay Norman work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

MacDonald J S work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Macgeorge Norman work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Macky Eric Spencer work referenced with Constance Jenkinsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

May Phil work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

McCubbin Frederick work illustrated The Pioneer view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Meldrum Max works referenced view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Williams Fredview full entry

Reference: The Diaries of Fred Williams, 1963–1970, edited by Patrick McCaughey, with John Timlin.
A generous and insightful glimpse into the private life and creative process of a giant of Australian landscape painting
Fred Williams kept a daily diary from 1963 until his death in 1982. Disciplined and meticulous, he recorded life in the studio, family life and his contact with artists, dealers and the art world-a page per day. At the beginning and end of each year, Williams would reflect on his progress, noting the ups and downs and plan for the coming year. The diaries contain studied reflections on his own art and offer an intimate picture of a major Australian artist at work. He maps out his work-small representations of what will become notable and important artworks-and makes comments about his contemporaries, with the occasional sharp judgement and snatch of art-world gossip, all notably without malice. The 1960s were crucial years for Williams. He moved from being a well-regarded painter to becoming a major Australian artist. Colour reproductions of his extraordinary paintings reveal their evolution and the struggles behind their making in his studio.
"John Timlin's invaluable work on this project cannot be overstated. Over more than a year he contributed many hours of painstaking consideration to edit the diaries down to a publishable size". Publisher's Acknowledgements page 663  As John is my partner, I have been living with this project for the last two years. We are both delighted with the result, as you will be if you buy the book. We are pre-selling the diaries with a special gallery price of $108 (retail price $120). The books are due to arrive in the gallery this Thursday (21st November). We will stay open on Thursday and Friday nights until 7pm to give people the opportunity to collect their orders.
Publishing details: MUP, 2024, 678pp
Ref: 1009

Vauthier Antoine Charles view full entry

Reference: see Metayer-Mermoz Maison de Ventes aux Enchères, auctiobn, Moulins, France:
lot no. 5
Estimate: €200 - €300 Sale commission
Antoine Charles VAUTHIER (1790-c.1879). Australian Koala and its young. Watercolour and gouache highlights on paper, signed lower left. H_27,5 cm W_21 cm
Lot 11
Estimate: €200 - €300 Sale commission
Antoine Charles VAUTHIER (1790-1879). Péramele Bougainville. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_20,5 cm W_26,5 cm
Lot 3
Antoine Charles VAUTHIER (1790-1879). Galago of Senegal. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_27.5 cm W_21 cm
Lot 4
Antoine Charles VAUTHIER (1790-1879). The red maki. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_20,5 cm W_26,5 cm
Lot 6
Antoine Charles VAUTHIER (1790-1879). Longirostre Bear. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_20,5 cm W_26,5 cm
Lot 7
Antoine Charles VAUTHIER (1790-c.1879). Chionis. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_20,5 cm W_26,5 cm
Lot 8
Antoine Charles VAUTHIER (1790-1879). Chlamyphore of Harlan. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_20,5 cm W_26,5 cm
Lot 9
Antoine Charles VAUTHIER (1790-1879). Franklin's Marmot. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_20.5 cm W_26.5 cm
Lot 10
Antoine Charles VAUTHIER (1790-1879). Helarctos euryspilus. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_20,5 cm W_26,5 cm
Lot 12
Antoine Charles VAUTHIER (1790-1879). Gymnura rafflesii. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_20,5 cm W_26,5 cm
Lot 13
Antoine Charles VAUTHIER (1790-1879). Viverra linsang and Canis Familiaris. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_27,5 cm W_21 cm
Lot 14
Antoine Charles VAUTHIER (1790-1879). Arctomys Richardsonii and Arctomys Hoodii. Watercolour and gouache highlights on paper, signed lower left, titled in pencil. H_27,5 cm W_21 cm

Paterson Hugh 1856-1917 works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Paterson John Ford work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Peele James work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Power Harold Septimus works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Ramsay Hugh works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Ritchie Alexander (Alick) Penrose Forbes work illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Rodway Florence works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Rowan Ellis work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Scarfe H E R windows referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Scott James Fraser works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Traill Jessie work illustrated view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Summers Charles work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Butler Lady work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Thompson Elizabeth Lady Butler work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Watkins J S works referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Withers Walter works illustratedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Anthony Hordern Fine Art Galleries numerous refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Arts and Crafts movementview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Athenaeum Gallery numerous referencesview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Australian Art Association numerous referencesview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

cartoon art many referencesview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Coutts Gordon work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Daly Dorothy Helen Mrs Herbert James Daly work referencedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Dyson Esther refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Fischer Amandus Julius refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Flanagan John Richard refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Frater William refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Griffiths Harley 1878-1951 refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Gurdon Norah refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Gye Hal refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Hall Oswald 1917-1991 refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Jones Charles Lloyd refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Laycock Gladys view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lindsay Percy refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lindsay Daryl refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lister Lister William refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Lorimer Vernon refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Louriero Arthur 8 refs view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Macky nee Jenkins Constance work referenced with Eric Spencer Mackyview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Mather John 10 refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

McClelland Harry ‘Drum Major’ refs view full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Menpes Mortimer refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Montgomery William glass artist refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Nerli Girolamo refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Neville Reginald refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Nuttall Charles refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Officer Edward refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Ohlfsen Dora ref refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Pinschof Carl Ludwig 7 refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Prenzel Robert refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Shirlow John 12 refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Smith Sydney Ure refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Tucker Tudor St Georgeview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Weston Harry John 1874-1938 refview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Wilkie Leslie Andrew 1878-1935 refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Wilsom William Hardy refsview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Wunderlich Ernest 1859-1945 and Wunderlich Limitedview full entry

Reference: see For The Fallen: The 1921-1922 Melbourne Public Library Mural Competition within the setting of Decorative Painting in Australian Art, by Paul Paffen. Includes bibliographty index of artworks, and general index.
In December 1921 the Melbourne Public Library launched an historic mural competition seeking to obtain a fifty-foot-long wall decoration to honour those who gave their lives in the Great War. Lindsay Bernard Hall – the National Gallery of Victoria’s formidable Director and strict disciplinarian Painting Master of the Gallery’s prestigious Art School – conceived the idea, overseeing it along every step of its unpredictable course.
The competition collapsed controversially in August 1922 with no outright winner declared. New Zealand-born artist Harold Septimus Power was approached to proceed with the design he had entered, which was only accepted by the narrowest of margins by the institution’s Board of Trustees on the advice of three judges.
This major, ground-breaking study brings to life the vast cast of the art world involved in the controversial competition. Myriads of relevant connections and inter-relationships spanning decades are navigated to feature the significant place that decorative painting occupied within Australian art, when it successfully challenged the dominance of staid academic realism, being an alternative, creative, way for the contemporary artist to manage pictorial space.
Publishing details: Australian Scholarly Press, 2021, pb, 464pp.

Earle Augustus family historyview full entry

Reference: see Dreweatts 1759, auction, UK, 5.12.24, lot 732 [reference to Augustus Earle at the end]:
JAMES EARL OF MASSACHUSETTS (AMERICAN 1761 - 1796)  PORTRAIT OF MR JANNER  Oil on canvas Signed, inscribed and dated 'Mr Janner Aged 41 by J.Earl 1793 No 5A Newham Street Oxford Street ' (verso)  36 x 30.5cm (14 x 12 in.)  Another oil portrait by James Earl is in the Royal Ontario Museum, Canada, of William Jarvis with his son Samuel Peter Jarvis (Inv. no. 981.79.1)  James Earl was an American portrait painter to the American royalists who spent the greater part of his career working in England as many of his sitters were former American colonists who had fled to London during and immediately following the end of the American Revolution. His ancestors were Quakers who emigrated from Exeter to Rhode Island in about 1634. At the beginning of the 18th century his grandfather settled in Worcester Country Massachusetts and James Earl was born in a village called Paxton in 1761. Ralph Earl (1726 - 1808), the father of James and his elder brother Ralph, was a farmer who joined the local militia during the Revolution in which he achieved the rank of Captain. However his son Ralph (1751 - 1801) became a loyalist and because of his activities in this cause left America and established himself as a painter in England from 1778 to 1785. It is thought that he taught his younger brother James and as he was also a loyalist, encouraged him to go to London. In April 1787 James exhibited two portraits at the Royal Academy and was resident at 6 Sweetings Alley, Royal Exchange.  In 1789 he married Georgiana Caroline Pilkington (1759 - 1838) the widow of Joseph Brewer Palmer Smyth, an American loyalist from New Jersey. Both James Earl and the Smyths lived at 42 Great Peter Street, Westminster. In 1787 Smyth returned to North America to substantiate claims for his lost property. In a letter he wrote in August 1788 from Niagara to his wife he said 'I hope Mr Earl is well in health and Desire my Best Respects to Him'. Smyth died shortly before returning to England and Caroline was left with two children, Elizabeth Ann and William Henry.   Earl enrolled in the Academy schools March 24th 1789 and is thought to have been a pupil of Benjamin West. He was an accomplished and popular painter and thirty four of his portraits painted during his seven years in England have been recorded so far. Many of his pictures have been misattributed to better known artists such as Sir William Beechey, George Romney, Mather Brown, Joshua Reynolds or to his brother Ralph Earl. Indeed four of his portraits of the Beauclerk family were attributed to Beechey, and those of Lord Aubrey and his wife to George Romney when they were sold by Sothebys in 1949. Another portrait of Lady Massereene in the collections of the Virginia Museum of Fine Arts in Richmond USA was until recently attributed to Sir Joshua Reynolds. His portraits are not as stylised as those by his brother, and his subjects are portrayed with an almost photographic individuality. His portraits of men are direct and without flattery, and he had a particular interest in portraying the eyes of his subjects with an almost jewel-like quality.   In 1794 he travelled to Charleston Carolina an expanding, affluent town, leaving his family in London. His obituary states that he had 'resided for nearly two years in this city'. He died of yellow fever and had made a will two days before his death. James Earl had a remarkable ability to capture a likeness, and his pictures are important additions to the body of 18th century American portrait painting. He was also the father of Augustus Earle (1793 - 1838) who lived a life of exploration as a draughtsman on board ship, and who famously was the artist on board the Beagle with Charles Darwin when he sailed to the Galapagos. 

Lesueur Charles Alexandreview full entry

Reference: see Deutscher & Hacket auction, Melbourne, 28 November 2018. Highly Important Works of Art from the Baudin Exhibition (1800 – 1804), LOTS 1 - 13, in association with Hordern House - 28 November 2018. With biographies of artists and bibliography.
Catalogue details of lots:
1
CHARLES-ALEXANDRE LESUEUR
CASES DE LA TERRE DE LEWIN (GÉOGRAPHE BAY, W.A.), probably June 1801
pen and ink and graphite on laid paper
a framing mount of blue-grey paper applied over the paper sheet
98 x 175 mm (image)
158 x 235 mm (sheet)
ESTIMATE:
$200,000 – 300,000
Sold for $292,800 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

2
NICOLAS-MARTIN PETIT
(FULL–LENGTH PORTRAIT OF A TIMORESE WOMAN HOLDING HER BABY), August – November 1801
pencil on laid paper
drawing squared-up in pencil
329 x 216 mm (sheet)
ESTIMATE:
$35,000 – 55,000
Sold for $42,700 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

3
NICOLAS-MARTIN PETIT
(FULL–LENGTH PORTRAIT OF A TIMORESE WOMAN HOLDING HER BABY), August – November 1801
pen and ink portrait in outline on laid paper with armorial watermark with fleur-de-lys design
318 x 232 mm (sheet)
ESTIMATE:
$35,000 – 55,000
Sold for $46,360 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

4
CHARLES-ALEXANDRE LESUEUR
(A SCENE IN THE CEMETERY IN THE HILLS BEHIND KUPANG), August – November 1801
pen, ink and graphite on laid paper
a framing mount of blue-grey paper applied over the paper sheet
152 x 214 mm (image)
222 x 290 mm (sheet)
ESTIMATE:
$35,000 – 55,000
Sold for $42,700 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

5
NICOLAS-MARTIN PETIT
RECTO: (PORTRAIT OF A MAN IN PROFILE, HEAD AND PARTIAL SHOULDERS), January or February 1802
pastel on paper with watermark of crowned lion and sword with a pencil drawing of different man verso
270 x 191 mm (approx., irregular)
ESTIMATE:
$300,000 – 400,000
Sold for $305,000 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

6
NICOLAS-MARTIN PETIT
SAUVAGE DE L’ÎLE VAN DIEMEN (CANAL DE D’ENTRECASTEAUX), early 1802, probably late January or early February
ink, watercolour and gouache on lightly tinted blue paper
177 x 151 mm (image, within a ruled border)
216 x 186 mm (sheet)
ESTIMATE:
$600,000 – 800,000
Sold for $707,600 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

7
NICOLAS-MARTIN PETIT
FEMME SAUVAGE DE L’ÎLE VAN DIEMEN (DÉTROIT DE D’ENTRECASTEAUX), early 1802
probably late January or early February
ink, watercolour and gouache on lightly tinted blue paper
205 x 200mm (image, within a ruled border)
235 x 212 mm (sheet)
ESTIMATE:
$700,000 – 900,000
View

8
NICOLAS-MARTIN PETIT
SAUVAGE DE L’ÎLE VAN DIEMEN (DÉTROIT DE D’ENTRECASTEAUX), early 1802
probably late January or early February
ink, watercolour and gouache on lightly tinted blue laid paper
183 x 278 mm (image within an ink border, within ruled border)
212 x 323 mm (sheet)
ESTIMATE:
$700,000 – 900,000
Sold for $829,600 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

9
CHARLES-ALEXANDRE LESUEUR
GROTTES DES NATURELS DE LA NOUVELLE GALLES DU SUD, June – November 1802
pen, ink and graphite on laid paper
a framing mount of blue-grey paper applied over the paper sheet
96 x 175 mm (image)
155 x 235 mm (sheet)
Private sale
View

10
NICOLAS-MARTIN PETIT
(ABORIGINAL WARRIOR WITH SPEAR), June – November 1802
pen, ink and graphite on laid paper with armorial watermark with fleur-de-lys
278 x 214 mm
ESTIMATE:
$350,000 – 450,000
Sold for $390,400 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

11
NICOLAS-MARTIN PETIT
(ABORIGINAL MAN AND WOMAN FISHING WITH SPEAR FROM CANOE, WITH FIRE AT CENTRE), June – November 1802
pen, ink and graphite on laid paper
watermarked “Budgen 1801”
224 x 333 mm
Private sale
View

12
NICOLAS-MARTIN PETIT
RECTO: (ABORIGINAL WOMAN BEING COMPETED FOR BY TWO RIVAL GROUPS OF THREE ABORIGINAL MEN), prior to 1804
pen and ink on laid paper watermarked “Budgen 1801”
188 x 327 mm (sheet, irregular)
ESTIMATE:
$150,000 – 250,000
Sold for $170,800 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

13
NICOLAS-MARTIN PETIT
RECTO: NOUVELLE HOLLANDE … MASSACRE D’UNE FEMME PAR LES SAUVAGES (ABORIGINAL WOMAN BEING COMPETED FOR BY TWO RIVAL GROUPS OF ABORIGINAL MEN, WITH FIVE FIGURES ON THE LEFT AND FOUR ON THE RIGHT), prior to 1804
pen and ink on laid paper watermarked “Bugden 1801”
217 x 332 mm (sheet, irregular)
Private sale
View
Publishing details: Deutscher & Hackett in association with Hordern House, 2018, pb, 81pp

Leseur or Leseuer or Leseur or Lesueur see Lesueurview full entry

Reference:

Banque Nationale de Parisview full entry

Reference: see Early French Voyages to Australia 1800 -1981. The Banque printed 2300 copies of this edition for private circulation. The essay engages with the French explorers' contributions to Europeans' knowledge of Australia (1768-1840).
Publishing details: Banque Nationale de Paris, Melbourne 1981, Folio size with loose plates in folder, 8pp essay & 17 loose (colour & b/w) plates of the flora, fauna, Indigenous people, maps etc. Some of the maps are folded 88.0 x 62.0cms sheets.

French voyage artview full entry

Reference: see Early French Voyages to Australia 1800 -1981. The Banque printed 2300 copies of this edition for private circulation. The essay engages with the French explorers' contributions to Europeans' knowledge of Australia (1768-1840).
Publishing details: Banque Nationale de Paris, Melbourne 1981, Folio size with loose plates in folder, 8pp essay & 17 loose (colour & b/w) plates of the flora, fauna, Indigenous people, maps etc. Some of the maps are folded 88.0 x 62.0cms sheets.

Early French Voyages To Australiaview full entry

Reference: Early French Voyages To Australia / Les Premieres Expeditions Francaises Vers L'Australie. A Portfolio Of Reproductions Published By Banque Nationale De Paris To Celebrate The Centenary Of Its Establishment In Australia - by Davidson, Rodney: Robert Douwma; Thomas Perry & Gaston Renard, published by Banque Nationale de Paris. Text In English and French. Banque Nationale de Paris, Melbourne 1981. 62.0 x 44.0cms, 8pp essay & 17 loose (colour & b/w) plates of the flora, fauna, Indigenous people, maps etc. Some of the maps are folded 88.0 x 62.0cms sheets. All in very good+ condition and suitable for framing. The Banque printed 2300 copies of this edition for private circulation. The essay engages with the French explorers' contributions to Europeans' knowledge of Australia (1768-1840). This item reproduces the Banque Nationale de Paris's invitations to the commemorations of the centenary of the First Fleet (1888) and for the Federation of the Australian states (1901). It has 17 plates that represent the expeditions of De Bougainville (1766-1769); La Perouse (1785-1788); D'Entrecasteaux (1791-1793); Baudin (1800-1803); Duperrey (1822-1825); De Bougainville (1824-1825); Dumont D'Urville (1826-1829), Laplace (1830-1832) & Dumont D'Urville (1837-1840).
Publishing details: Banque Nationale de Paris, large Folio size with loose plates in folder, 1981. The Banque printed 2300 copies of this edition for private circulation.
Ref: 1000

Dangar Anneview full entry

Reference: ANNE DANGAR: CERAMISTE. Le cubism au quotidien.
Publishing details: Lein Art, Paris, 2006. 4to, 213pp. Colour illustrations.
Ref: 1009

Martin Phillipview full entry

Reference: see Helen Marshal 1912-1996, and her husband Philip Martin, to be exhibited concurrently at the Sir Herman Black Gallery, University of Sydney, exhibition to be opened by Richard King, formally director of Richard King Gallery, Woollomooloo.
Publishing details: Polly Courtin Gallery, 2001 [catalogue details to be entered]

Martin Phillipview full entry

Reference: postcard by Phillip Martin, with illustration of painting titled Affiche Number 184, 1988
Publishing details: no publication details
Ref: 145

Marshall Helen 1912-1996view full entry

Reference: invitation for Helen Marshal 1912-1996, and her husband Philip Martin, to be exhibited concurrently at the Sir Herman Black Gallery, University of Sydney, exhibition to be opened by Richard King, formally director of Richard King Gallery, Woollomooloo. Invite includes biography and exhibition history.
Publishing details: Polly Courtin Gallery, 2001, double sided card
Ref: 145

Cavalan Pierre jewellerview full entry

Reference: PIERRE'S JEWELLERY IS REPRESENTED IN THE PERMANENT COLLECTIONS OF:
MUSEUM OF ARTS AND DESIGN - NEW YORK, USA.
PHILADELPHIA MUSEUM OF ART - PHILADELPHIA, USA.
TOLEDO MUSEUM OF ART - OHIO, USA.
LOWE MUSEUM - UNIVERSITY OF FLORIDA, USA.
RACINE ART MUSEUM - WISCONSIN, USA..
FULLER CRAFT MUSEUM - MASSACHUSETTS, USA.
LOS ANGELES COUNTY MUSEUM OF ART - LOIS BOARDMAN COLLECTION, USA.
MUSEUM OF FINE ARTS - HELEN WILLIAMS DRUTT COLLECTION, HOUSTON, USA.
MUSÉE DES ARTS DÉCORATIFS - MONTREAL, CANADA.
IMPERIAL WAR MUSEUM - LONDON, UK.
NATIONAL MUSEUM OF SCOTLAND - EDINBURGH, SCOTLAND.
POWERHOUSE MUSEUM - SYDNEY, AUSTRALIA.
SYDNEY TOWN HALL ART COLLECTION - SYDNEY, AUSTRALIA.
NATIONAL GALLERY OF AUSTRALIA - CANBERRA, AUSTRALIA.
CANBERRA MUSEUM AND ART GALLERY - CANBERRA, AUSTRALIA.
NATIONAL MUSEUM OF AUSTRALIA - CANBERRA, AUSTRALIA.
NORTHERN TERRITORY MUSEUM OF ART & SCIENCE - DARWIN, AUS.
TOOWOOMBA REGIONAL ART GALLERY - QUEENSLAND, AUSTRALIA.
QUEENSLAND STATE LIBRARY - QUEENSLAND, AUSTRALIA.
TASMANIAN MUSEUM AND ART GALLERY - HOBART, AUSTRALIA.
GRIFFITH REGIONAL ART GALLERY - GRIFFITH, AUSTRALIA.
WOLLONGONG MUSEUM - WOLLONGONG, AUSTRALIA.
Publishing details: information from artist's business card, 2025.
Ref: 145

Wedd Monty illustrator and authorview full entry

Reference: see Australian Military Uniforms, 1800 - 1982, by Monty Wedd. ['Monty Wedd presents a pageant of Australian military history through the Australian Military Forces uniforms, & how they have changed over the decades. From the early 1800 Volunteer Force onwards.'] Includes biography of Many Weddings on back flap of dust jacket:
Monty Wedd, book illustrator, author,
prominent historian, television personality,
animated film designer and art consultant, is a specialist in historical subjects and has, in his extensive research for accuracy and authenticity, established one of the finest historical\ collections in this country, which is housed at Monarch Historical Museum, Dee Why, and has on display many of the military uniforms featured in this book.
He served five years in both the A.I.F. and
the RAAF in World War I. But his interest
in military uniforms goes back to his childhood days, when as a boy many happy hours were spent drawing soldiers, and collecting boxes of Britain's model figures. He is well-known for his illustrated historic features ‘Ned Kelly’ and 'Bold Ben Hall' appearing in the Sunday Telegraph, Brisbane Sunday Sun and Sunday Times, Perth, and the stories behind the stamp and stamp oddities which regularly appear in Stamp News.
Publishing details: Kenthurst. Kangaroo Press. 1982. 4to. Or.bds. Dustjacket. 144pp. Profusely illustrated in colour and black & white.

Menpes Mortimer - some uncorrected articles from Troveview full entry

Reference: Uncorrected articles from Trove:
From Evening Journal, Adelaide, 6 April, 1889, p4:
MR. MORTIMER MENPES "AT HOME,"—
Apropos of art matters why is it that Mr
Mortimer Menpes, the South Australian
artist, has obtained so much publicity within
a comparatively Bhort time ? (says tbe London
correspondent of the Olago Witness). Last
week he, or to be more corrcct Miea Menpae,
gave a children's fancy dress ball, which was
really a "gorgeous affair," little Maude
Menpes, attired as a Japanese Princess,
receiving her many guests. Ths beautiful
MisseB Savile Clarke, lovely, in white,
worked hard at one end of the ballroom,
while the handsome Misses Lehmann energetically
manoeuvred their squadrons at the
other, Minnie Terry, otherwise Boctle's
Baby, looking sweet in her Puritan goro.
danced 'with Hephistopheles to the music of
"Baotle's March.

From Western Mail, Perth, 18 July, 1903, p 50:
"World's Children," Mr. Mortimer
Menpes' new book, with text by Dorothy
^Menpes, will differ from his other works
in that the colour illustrations will be
engraved and printed by a member of his
own' family. Mies Maud Menpes has
studied the art of colour-reproduction in
Germany, and has returned home to un-
dertake the more technical part in con-
nection with her father's work. In this
she will have the more encouragement
since Mr. Menpes himself is a past-mas
terrin artistic printing, and will under-
take the direction of the work. Messrs.
A. and C. Black will publish thc book.

From Critic, Adelaide, 10 May, 1903, p7:
Three people, a father and two
daughters, were engaged in the construction
of the book. The World's Children.
The book itself is written by Mortimer
Menpes, the text by his daughter,
Dorothy Menpes, and the 100 odd pictures
contained in it were engraved by
another daughter, Maud Menpes. The
book is of the children of all nations
with whom Mr. Menpes has come in contact
during his travels.
from The Crafsman Vol 9, no, 2, November 1905:

MORTIMER MENPES and his talented daughter Dorothy have joined forces in the production of a volumein the series of color books brught out by The Macmillan Company. For this volume on “Brittany” Mr. Menpes has made seventy-five paintings; from these the illustrations for the volume have been engraved by Miss Maude Menpes and printed under the artist’s supervision at the Menpes Press. Miss Dorothy Menpes has written the text of the volume, which, like her father’s paintings, is ric hin color and in its perception of the picturesque.
From the Register, Adelaide, 16 Sept., 1908, p8:
Mrs. Mortimor Menpes, Mi--s Dorotfw
Menpes, and Mr. 'Claude Monpes have a
river residence. Iris Court. Pantfiourne, for
the 'summer, ami have been entertaining
their fij'cnds there. Jir. Mortimer Men.pos
and Mi.ss MoudeMcnpes are now in Municn.
?where the latter h studyine three-colo.ir
photography. Miw Maude Menpes i? ona
of the cleverest women amntcnr photo
graphers of the day (says Tho British
?Aiistralanan). and intends making a spe
ciality of this particular branch of photo
pr-aphy. Her work gained high favour with
tho critics at the recent Photographic Exhi
bition.

SMH, Sydney, 10 Jan, 1912, p5:
AUSTRAIIAES ABROAD.
(FROM OÜB SI-CIA- amitESPOSD-ST.)
LONDON, Dec. 8.
The Australian danco of the season in
London, the Austral Club Ball, took place at
Princes' Galleries, Piccadilly, on November
29 Tho committee were Lady Cockburn, Mrs
Arthur Willis, Mrs Mark Attenborough, Mrs
Roy-Batty, Miss Margaret Baxter, Mrs Harry
Burton, Mrs. J Mitchell Craig, Mrs Muir-
head Collins, Miss H D Cockle, Mrs E
Greville, Mrs. W. A Horn, Mrs James Hud
dart, Mrs. J, G Jackson, Mrs. R. Kermode,
Mrs, Maude, Miss Vera Mason Mrs Nicholas,
Mrs Reynard, Mrs J T Russell, Mrs F A
Scrivener, Miss Una Spicer, Mrs W, J Tur-
ner, Miss L M Thompson Mrs James Web-
ster, and Miss Dorothy Willis Mrs Maquay
acted as secretary Guests were received by
Lady Cockburn, Lady Reid, and Lady Newton
Moore Those present includo Sir George
Reid. Sir John M Call, Sir John Cockburn,
Lady Diana Minners, Lady Marjorie Manners,
Miss Glad)s Owen Mr Bernacchi Mr -lud
Mrs Chomley and the Misses Chomley, Mrs
Cecil Darley, Miss Maude Menpes, Miss Pene-
lope Baynton Mr and Mrs Nlvlson, Mr and
Mrs G Earp, the Misses Hall-Jones, and
many others
Mrs M Cormick who Is staying on for some
time in Europo after Dr M Cormack's de-
parture will spend Christmas at Villars, in
Switzerland
From The Age, 5 April, 1938 – obituary:

OBITUARY. .
Mr. MORTIMER MENPES.
Mr. Mortimer Menpes, whose death ls
reported from Londop by cablegram and
who, in an autobiographical note, said
of himself, that he was "inartistically
born In Australia," was a fellow of the
Royal Geographical Society, a painter,
etcher and rifle shot, in the South
African war he served as a war artist.
Educated "nominally" at a grammar
school in Port Adelaide, lie held many
one-man exhibitions in London, and
travelled extensively In the interests of
his art. With his daughter, Miss Maud
Menpes, he was joint founder of the
Menpes Press and the Menpes Fruit
SarP A His home was In Pangbourne,
Berkshire.

Harrison L Birgeview full entry

Reference: see Streeton, by Wayne Tunnicliffe. Published to coincide with the exhibition at the Art Gallery of New South Wales. With 16 essays, catalogue entries, chronology, bibliography. References to other artists throughout. p71
Publishing details: AGNSW, 2020, Hardback, 384 pages with Index.

Hertzger Gertrudeview full entry

Reference: see Herzger-Seligmann Gertrude

Herzger-Seligmann Gertrudeview full entry

Reference: Gertrude Herzger-Seligmann is an artist who was born in 1901. Buxton Contemporary featured Gertrude Herzger-Seligmann's work in the past.
Gertrude Herzger-Seligmann in the news

In MutualArt’s artist press archive, Gertrude Herzger-Seligmann is featured in Home and Away: The Bauhaus in Australia, a piece from Frieze Magazine in October 2019.

Herzger-Seligmann Gertrudeview full entry

Reference: Trained at Bauhaus before coming to live in Sydney where she had her own studio and worked as a jeweller. {information from a colleague].

Bauhaus in Australiaview full entry

Reference: In MutualArt’s artist press archive, Gertrude Herzger-Seligmann is featured in Home and Away: The Bauhaus in Australia, a piece from Frieze Magazine in October 2019.

Mutsaers Frankview full entry

Reference: The art of Frank Mutsaers : a second book of Australian landscapes / with a foreword by Tom Roberts
Publishing details: F. Mutsaers, c1981
36 leaves of col. plates
Ref: 1000

Horak Olga view full entry

Reference: see Theodore Bruce auction, The Horak House | Rose Bay, Sunday 8 December, 2024, Theodore Bruce Auctioneers is delighted to bring to auction the contents of what will be known as “The Horak House”, a 1940s Moderne home in Sydney’s Rose Bay. The former home of highly regarded Holocaust survivor and artist Olga Horak OAM – well-known to visitors of the Sydney Jewish Museum – features a remarkable decorative interior of ‘time-capsule’ furniture by leading postwar designers, Paul Kafka and Decor Associates, with many of the furnishings to be included in the auction. Also among the collection is porcelain, glassware, Persian rugs, European & Asian decorative arts & homewares - plus artworks from Olga Horak and international artists.
The entire decoration of the home has been documented by Museums of History NSW and will be included as part of the Caroline Simpson Library Collection. Please read more with our news article by Dr Catriona Quinn, Design Historian & Researcher at the University of NSW.
Lots by Olga Horak include:
224: Olga Horak, Australia (1926-2024), Still Life Ceramic Bottles 1963, Oil on canvas paper
Estimate: A$60 - A$80
Starting Bid: A$300 Bids
Olga Horak, Australia (1926-2024), Nude Back View, Charcoal on paper laid on board
18d 19h 40m left to bid.
225: Olga Horak, Australia (1926-2024), Nude Back View, Charcoal on paper laid on board
Estimate: A$60 - A$80
Starting Bid: A$300 Bids
Olga Horak, Australia (1926-2024), Still Life 1967, Oil on board
18d 19h 41m left to bid.
226: Olga Horak, Australia (1926-2024), Still Life 1967, Oil on board
Estimate: A$60 - A$80
Starting Bid: A$300 Bids
Olga Horak, Australia (1926-2024), Kings Cross at Night, 1967, Oil on Canvas on Board
18d 19h 45m left to bid.
237: Olga Horak, Australia (1926-2024), Kings Cross at Night, 1967, Oil on Canvas on Board
Estimate: A$60 - A$80
Starting Bid: A$300 Bids
Olga Horak, Australia (1926-2024), Reclining Nude, Oil on canvas on board
18d 19h 45m left to bid.
240: Olga Horak, Australia (1926-2024), Reclining Nude, Oil on canvas on board
Estimate: A$60 - A$80
Starting Bid: A$300 Bids
Olga Horak, Australia (1926-2024), First Exercise, East Sydney Tech, 1960, Cast plaster
18d 19h 46m left to bid.
241: Olga Horak, Australia (1926-2024), First Exercise, East Sydney Tech, 1960, Cast plaster
Estimate: A$60 - A$80
Starting Bid: A$300 Bids
Olga Horak, Australia (1926-2024), A Large Bundle of Various Experimental Unfinished Works c.1960s, Mostly Oil on paper
18d 19h 32m left to bid.
208: Olga Horak, Australia (1926-2024), A Large Bundle of Various Experimental Unfinished Works c.1960s, Mostly Oil on paper
Estimate: A$60 - A$80
Starting Bid: A$300 Bids
Olga Horak, Australia (1926-2024), Mullets, Oil on board
18d 19h 14m left to bid.
172: Olga Horak, Australia (1926-2024), Mullets, Oil on board
153: Olga Horak, Australia (1926-2024), The Parts of The Human Machine, Welded copper & sand finished cast plaster
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Untitled, Bent metal on timber on plywood base
18d 19h 1m left to bid.
154: Olga Horak, Australia (1926-2024), Untitled, Bent metal on timber on plywood base
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Flowers Grow Again 1963, Oil on Canvas on Board
18d 19h 5m left to bid.
164: Olga Horak, Australia (1926-2024), Flowers Grow Again 1963, Oil on Canvas on Board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), From a Still Life, Oil on Canvas on Board
18d 19h 6m left to bid.
165: Olga Horak, Australia (1926-2024), From a Still Life, Oil on Canvas on Board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Reclining Nude 1962, Oil on Brown Paper on Board
18d 19h 6m left to bid.
166: Olga Horak, Australia (1926-2024), Reclining Nude 1962, Oil on Brown Paper on Board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Liliac 1961, Oil on canvas on board
18d 19h 7m left to bid.
167: Olga Horak, Australia (1926-2024), Liliac 1961, Oil on canvas on board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Fear, Fire & Death 1967, Oil on canvas on board
18d 19h 7m left to bid.
168: Olga Horak, Australia (1926-2024), Fear, Fire & Death 1967, Oil on canvas on board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Borneo, Collage & oil on hessian on board
18d 19h 8m left to bid.
169: Olga Horak, Australia (1926-2024), Borneo, Collage & oil on hessian on board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Worries Pile, Mixed media on collage on canvas on board
18d 19h 8m left to bid.
170: Olga Horak, Australia (1926-2024), Worries Pile, Mixed media on collage on canvas on board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Still Life 1965, Oil on canvas on board
18d 19h 9m left to bid.
171: Olga Horak, Australia (1926-2024), Still Life 1965, Oil on canvas on board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
200: Olga Horak, Australia (1926-2024), Reclining Nude, Still Life, Anatomy of a Woman, Still Life [4], Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Nude, Arrival, Free Shapes, Still Life [4], Oil on paper
18d 19h 22m left to bid.
201: Olga Horak, Australia (1926-2024), Nude, Arrival, Free Shapes, Still Life [4], Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Various Still Lifes & A Nude [4], Oil on Paper
18d 19h 22m left to bid.
202: Olga Horak, Australia (1926-2024), Various Still Lifes & A Nude [4], Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Four Various Still Lifes & A Nude [5], Oil on paper
18d 19h 23m left to bid.
203: Olga Horak, Australia (1926-2024), Four Various Still Lifes & A Nude [5], Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Four Various Still Lifes, Oil on paper
18d 19h 23m left to bid.
204: Olga Horak, Australia (1926-2024), Four Various Still Lifes, Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Four Various Abstract Works, Oil on Paper
18d 19h 24m left to bid.
205: Olga Horak, Australia (1926-2024), Four Various Abstract Works, Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Three Various Figure Studies, Oil on paper
18d 19h 24m left to bid.
206: Olga Horak, Australia (1926-2024), Three Various Figure Studies, Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Four Various Abstract Works, Oil on paper
18d 19h 25m left to bid.
207: Olga Horak, Australia (1926-2024), Four Various Abstract Works, Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Studio Still Life 1962, Oil on canvas on board
18d 19h 10m left to bid.
176: Olga Horak, Australia (1926-2024), Studio Still Life 1962, Oil on canvas on board
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Driftwood & Study [2], Oil on Paper
18d 19h 10m left to bid.
177: Olga Horak, Australia (1926-2024), Driftwood & Study [2], Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Four Various Landscapes c. 1965, Oil on Paper
18d 19h 11m left to bid.
178: Olga Horak, Australia (1926-2024), Four Various Landscapes c. 1965, Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Four Various Abstract Works, Oil on paper
18d 19h 11m left to bid.
179: Olga Horak, Australia (1926-2024), Four Various Abstract Works, Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Three Various Abstract Works, Oil on paper
18d 19h 12m left to bid.
180: Olga Horak, Australia (1926-2024), Three Various Abstract Works, Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Two Large Abstract Works, Oil on Paper
18d 19h 12m left to bid.
181: Olga Horak, Australia (1926-2024), Two Large Abstract Works, Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Six Various Nudes, Oil on Paper
18d 19h 13m left to bid.
182: Olga Horak, Australia (1926-2024), Six Various Nudes, Oil on Paper
Estimate: A$40 - A$60
Current Bid: A$201 Bid
Olga Horak, Australia (1926-2024), Six Studio Interior Works, Oil on Paper
18d 19h 13m left to bid.
183: Olga Horak, Australia (1926-2024), Six Studio Interior Works, Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Five Various Nudes, Oil on paper
18d 19h 13m left to bid.
184: Olga Horak, Australia (1926-2024), Five Various Nudes, Oil on paper
Estimate: A$40 - A$60
Current Bid: A$201 Bid
Olga Horak, Australia (1926-2024), Four Various Nude c.1962, Oil on paper
18d 19h 14m left to bid.
185: Olga Horak, Australia (1926-2024), Four Various Nude c.1962, Oil on paper
Estimate: A$40 - A$60
Current Bid: A$201 Bid
Olga Horak, Australia (1926-2024), Three Various Nudes, Oil on paper
18d 19h 14m left to bid.
186: Olga Horak, Australia (1926-2024), Three Various Nudes, Oil on paper
Estimate: A$40 - A$60
Current Bid: A$201 Bid
Olga Horak, Australia (1926-2024), Five Various Portraits, Oil on paper
18d 19h 15m left to bid.
187: Olga Horak, Australia (1926-2024), Five Various Portraits, Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Six Various Still Lifes, Oil on Paper
18d 19h 15m left to bid.
188: Olga Horak, Australia (1926-2024), Six Various Still Lifes, Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Six Various Still Lifes c.1963, Oil on paper
18d 19h 15m left to bid.
189: Olga Horak, Australia (1926-2024), Six Various Still Lifes c.1963, Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Three Various Still Lifes c.1963, Oil on Paper
18d 19h 16m left to bid.
190: Olga Horak, Australia (1926-2024), Three Various Still Lifes c.1963, Oil on Paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids
Olga Horak, Australia (1926-2024), Five Various Still Lifes, Oil on paper
18d 19h 16m left to bid.
191: Olga Horak, Australia (1926-2024), Five Various Still Lifes, Oil on paper
Estimate: A$40 - A$60
Starting Bid: A$200 Bids

Dumour Pierre-Marie Alexandre c1840view full entry

Reference: Life mask of Timmy, Georges River, Tasmania, plaster bust, 41 x 21 x 2.4 cm, in Musee de l’Homme. France. Illustrated in Lure of the Southern Seas - The Voyages of Dumont D’Urville 1826 - 1840, by Susan Hunt, Martin Terry, Nicholas Thomas, Historic Houses Trust, 2002, folded card covers, 141pp.

Lasalle Emile (1813-1871) French lithographer and painter
view full entry

Reference: see Lure of the Southern Seas - The Voyages of Dumont D’Urville 1826 - 1840, by Susan Hunt, Martin Terry, Nicholas Thomas. Lassalle lithographed some of le Breton’s work.
Publishing details: Historic Houses Trust, 2002, folded card covers, 141pp.

Carter Norman decorationsview full entry

Reference: see 'Australian interior decoration, Architecture: An Australian review of architecture and the allied arts and sciences, vol. 2, no. 3, September 1917, pp. 58-59. This article is illustrated with two panel decorations, one being an Arcadian scene by Jack Watkins, and the second is a decoration by Norman Carter being the main panel above the fireplace in the entrance hall of 'Milroy', Strathfield, Sydney, the residence of wealthy merchant George F. Todman (architect C.H. Slayter).

Watkins Jack decorationsview full entry

Reference: see 'Australian interior decoration, Architecture: An Australian review of architecture and the allied arts and sciences, vol. 2, no. 3, September 1917, pp. 58-59. This article is illustrated with two panel decorations, one being an Arcadian scene by Jack Watkins, and the second is a decoration by Norman Carter being the main panel above the fireplace in the entrance hall of 'Milroy', Strathfield, Sydney, the residence of wealthy merchant George F. Todman (architect C.H. Slayter).

Australian interior decoration, Architecture: An Australian review of architecture and the allied arts and sciencesview full entry

Reference: 'Australian interior decoration, Architecture: An Australian review of architecture and the allied arts and sciences, vol. 2, no. 3, September 1917, pp. 58-59. This article is illustrated with two panel decorations, one being an Arcadian scene by Jack Watkins, and the second is a decoration by Norman Carter being the main panel above the fireplace in the entrance hall of 'Milroy', Strathfield, Sydney, the residence of wealthy merchant George F. Todman (architect C.H. Slayter).
Ref: 1000

Bridges Gregview full entry

Reference: see Hargesheimer auction, 14 Dec :2024 Dusseldorf, Germany, lot 593:

GREGORY (GREG) BRIDGES 1950 Melbourne, Australia 'GRASSHOPPER ECONOMY' (2015) Color lithograph on firm paper. DM 67 x 57 cm, BM 100 x 86 cm. (R. 107 x 93 cm). Signed lower right in pencil and numbered '1/12', dry stamp lower right 'Gregory Bridges Limited Edition'. Enclosed: Hand-signed studies and concept drawings of the work. With traces of creasing, especially in the margins outside the print. Framed behind glass (unopened).

Brandien Carl W 1886-1965 travelled to Sydney 1938view full entry

Reference: see Cultural Traditions auction, London, United Kingdom, 11.12.24, lot 4:
Carl W. Brandien (1886-1965).
Soochow, China. 1930.
Oil on canvas on cardboard, size 30 x 40 cm (11 3/4 inches x 15 3/4 inches). Frame dimensions 44 x 54 cm (17 1/3 inches x 21 1/4 inches).
Signed right and left.
Provenance: Carl William Brandien
Born of Danish Parents July 24, 1886 in New York City.
Father died when he was only a child and he was placed in an institution.
Served with the American Expeditionary Forces in France in WWI.
Honorably Discharged June 4, 1919.
Died January 1, 1965 Ft Lauderdale, FL.
1939 Exhibited at the Barbizon Plaza Art Gallery New York City in honor of the Worlds Fair July 1 - October 1.
1939 Exhibit at the Parkway in Vero Beach Florida, February 2 - 19th.
1939 Exhibit at the Housekeeper's Club of Coconut Grove Florida, April 19th - May 6th.
1940 Exhibit at the Prince George Hotel in New York City, June 10th - July 1st.
Exhibited at many other shows across the United States.
Won the following awards from the National Academy of Design:
Bronze Medal for life drawing. April 28, 1916.
Honorable Mention Painting. April 28, 1916.
3rd Prize Hallgarten Fund for Painting. April 28, 1917.
2nd Prize Hallgarten Fund for Composition. April 28, 1917.
llustrator for Life Magazine "A Bit of Old New York" other periodicals in the early 1900s.
Painted Murals for the Friar's Club and The Russian Club in New York City, The Officers Mess Hall at West Point, and the 1935 Auto Show at the Grand Central Palace in New York as well as other Restaurants.
Painting of opening night at the Metropolitan Opera was presented to famed director David Mannes and reportedly still hangs in the Met.
His painting "forgotten" is at the University of Georgia in Athens.
Member of Astor Lodge #603 Free and Accepted Masons.
Member of Phoenix Chapter # 2 Royal Arch Masons.
Partial list of his travels
1922 Naples Italy February 10
1922 Tunisia March 29
1922 Algiers March 31
1922 Madrid Spain June 17
1930 Japan Jan 29
1930 Hawaii March 25
1930 Singapore May 7
1930 Saigon June 6
1930 Ceylon July 28
1930 France Sept 4
1938 France Oct 8
1938 Monaco August 22
1938 Sydney Australia
Submitted by Carl Brechlin, Meriden, Connecticut, December 2005.
Artist or Maker

O’Harris Pixie 1903-1991view full entry

Reference: The Pixie O’Harris Fairy Book.
The first half of the twentieth century was a golden age of Australian fantasy illustrators and writers, and Pixie O'Harris (1903-1991) was one of the most loved. She illustrated more than 40 fairy books, which sold hundreds of thousands of copies. Her charming woodland and sea creatures, and her appealing fairies captivated generations of children. Every year, she is remembered through the Pixie O'Harris Award, which the Australian Publishing Association gives in recognition of distinguished and dedicated service to the development and reputation of children's books.
Publishing details: Pan Macmillan, 2007, hc, dw, 114pp, [8] p. of plates : ill. (some col.)

Parliament House embroideryview full entry

Reference: The Parliament House embroidery : a work of many hands / Parliament House Embroidery Committee. Includes lists of emroiderers who stitched the embroidery., p50-52. [See also ‘The parliament house embroidery: A creative collaboration’, by Baguley, Margaret; Kerby, Martin C., Australian Art Education. 1 Jan 2017’.] And the Papers of Lois Evans relating to the Parliament House Embroidery Committee, 1986-1987 in NLA?]
Publishing details: Canberra : AGPS Press, 1988, ix, 54 p. : ill. (some col.), ports.
Ref: 148

embroidery in Parliament House, Canberraview full entry

Reference: see The Parliament House embroidery : a work of many hands / Parliament House Embroidery Committee. Includes lists of emroiderers who stitched the embroidery., p50-52. [See also ‘The parliament house embroidery: A creative collaboration’, by Baguley, Margaret; Kerby, Martin C., Australian Art Education. 1 Jan 2017’.] And the Papers of Lois Evans relating to the Parliament House Embroidery Committee, 1986-1987 in NLA?]
Publishing details: Canberra : AGPS Press, 1988, ix, 54 p. : ill. (some col.), ports.

Carter Josephine view full entry

Reference: see The Parliament House embroidery : a work of many hands / Parliament House Embroidery Committee. Includes lists of emroiderers who stitched the embroidery., p50-52. [See also ‘The parliament house embroidery: A creative collaboration’, by Baguley, Margaret; Kerby, Martin C., Australian Art Education. 1 Jan 2017’.] And the Papers of Lois Evans relating to the Parliament House Embroidery Committee, 1986-1987 in NLA?]
Publishing details: Canberra : AGPS Press, 1988, ix, 54 p. : ill. (some col.), ports.

Lawrence Kayview full entry

Reference: see The Parliament House embroidery : a work of many hands / Parliament House Embroidery Committee. Includes lists of emroiderers who stitched the embroidery., p50-52. [See also ‘The parliament house embroidery: A creative collaboration’, by Baguley, Margaret; Kerby, Martin C., Australian Art Education. 1 Jan 2017’.] And the Papers of Lois Evans relating to the Parliament House Embroidery Committee, 1986-1987 in NLA?]
Publishing details: Canberra : AGPS Press, 1988, ix, 54 p. : ill. (some col.), ports.

stitching - embroideryview full entry

Reference: see The Parliament House embroidery : a work of many hands / Parliament House Embroidery Committee. Includes lists of emroiderers who stitched the embroidery., p50-52. [See also ‘The parliament house embroidery: A creative collaboration’, by Baguley, Margaret; Kerby, Martin C., Australian Art Education. 1 Jan 2017’.] And the Papers of Lois Evans relating to the Parliament House Embroidery Committee, 1986-1987 in NLA?]
Publishing details: Canberra : AGPS Press, 1988, ix, 54 p. : ill. (some col.), ports.

Gerler G F map Queensland p viiview full entry

Reference: see The Parliament House embroidery : a work of many hands / Parliament House Embroidery Committee. Includes lists of emroiderers who stitched the embroidery., p50-52. [See also ‘The parliament house embroidery: A creative collaboration’, by Baguley, Margaret; Kerby, Martin C., Australian Art Education. 1 Jan 2017’.] And the Papers of Lois Evans relating to the Parliament House Embroidery Committee, 1986-1987 in NLA?]
Publishing details: Canberra : AGPS Press, 1988, ix, 54 p. : ill. (some col.), ports.

Art Foundation of Tasmania Theview full entry

Reference: The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Hayes Sir John portrait by John Opieview full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Opie John portrait of Sir John Hayesview full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Glover John River Derwent c1931view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Gleeson James Nest of Premonitions 1987view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Kay William Pordon architect p5view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Willson John Henry convict artist p5view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Fleischmann Arthur - Dawn 1963 p6view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Wainewright Thomas Griffiths Julia Sorell 1846view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Davis Peter platter 1989view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Dadswell Lyndon - Head c1934view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Connor Kevin - Erslineville Road 1988view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Tillers Imants When False is True 1985view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Stoneman Julie Watershed 1993 (vase)view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Hall Patrick tall stories from the art world 1991view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Friend Donald Hill End Vision c1950view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

MacDonald Anne Boys 1 & 11 1991view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Oliver Bronwyn Web 1992view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Glover John Sunrise at Matlock (UK) 1840view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Heysen Nora Self Portrait view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Kemp Roger Contemporary Formula c1985view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Nash David Sea Passage 1991view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Casey Karen Awakening c1992view full entry

Reference: see The Art Foundation of Tasmania 198-1994. With colour illustrations. Includes brief biographies of the artists included.
Publishing details: Tasmanian Museum and Art Gallery, Hobart, 1994, 4to stapled wrapper, unpaginated (ca 32pp).

Bulletin Book Theview full entry

Reference: The Bulletin Book - a Selection from the 1960's. Includes essays,articles, illustrations and cartoons reprinted from The Bulletin.
Publishing details: F. W. Cheshire, 1966, hc, dw, 120 pages.

Pugh Clifton The Mexican Paintings 8 colour illstrations p40-41view full entry