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

Smith Grace Cossington 4 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Stewart Janet Cumbrae 2 refs view full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Davies David 3 refs view full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Folingsby George 3 refs view full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Fox Emanuel Philliups 2 refs view full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Fuller Florence Ada 6 refs view full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Geach family numerous refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Goldstein Vida numerous refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Hall Lindsay Bernard 6 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Hambidge Alice 3 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Henry Alice 5 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Jenkins Constance 1 refview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Joel Grace 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Longstaff John 4 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Longstaff Will 1 refview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Loureiro Arthur 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

McCubbin Frederick numerous refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Preston Margaret 2 refs see McPherson in indexview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Mackennal Bertram 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Mann G V F 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Meeson Dora 7 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Adams Josephine Muntz 3 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Power H Septimus 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Nicholas Hilda Rix 7 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Roberts Tom 8 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Roth Constance 1 refview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Rowan Ellis 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Dattilo-Rubbo Anthony 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Rubbo Anthony Dattilo 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Spong Hilda 1 refview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Streeton Arthur 6 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Sweatman Jo 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Taylor Florence 11 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Teague Violet 6 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Thomas Margaret 1 refview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Traill Jesse 5 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Tucker Tudor St George 1 refview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Vale May 7 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Victorian Artists Society many refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Victorian Artists Society many refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Waite J C 1 refview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Watkins J S 2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Wilson Dora 1 refview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Withers Walter2 refsview full entry

Reference: see Portia Geach - Portrait of an Activist, by Julie Cotter. With notes, select bibliography, and index..
Portia Geach heralded the age of the modern Australian woman. Sophisticated, creative and a formidable advocate for women, she was equally championed for her campaigns and pummeled for interfering in the business of men.

At the age of 17 she began her studies at the National Gallery School in Melbourne, with Bernard Hall as her sponsor she became the first Australian woman admitted to the Royal Academy, entering the painting class in 1897. She embraced the vibrancy of London’s art scene and took night classes in stained glass for two years at the Central School of Arts and Crafts exhibiting a piece of painted glass at the Paris Exposition Universelle of 1900. She furthered her studies at Whistler’s Académie Carmen and the Académie Julian in Paris before returning to Australia in 1900.

Back in Melbourne, she established an Academy of Art in Collins Street, supported the suffrage campaign and eventually became a leader in the women’s movement. In addition to exhibiting with the Victorian Artists Society, solo exhibitions at Anthony Hordern’s in Sydney and the Athenaeum in Melbourne, extended periods in studios in New York, she fought for equal pay, access for women to political power and better standards of healthcare. She represented Australia at international women’s assemblies, famously led the potato boycott in 1929 in opposition to the ever-increasing prices and travelled extensively, encouraging women to follow in her footsteps.

This publication on the life and career of Portia Geach is a reengagement with her contribution to artistic practice, social equality and feminist politics in Australia during the early twentieth century. It establishes her contribution as a forerunner to the women's movement and affirm the contemporaneity of her views in both her practice and life choices.

This long overdue biography is by art historian Dr Julie Cotter who has written the books Portraits Destroyed and Tom Roberts and the Art of Portraiture.
Publishing details: Joyce Press, 2024, pb, 377pp, with index.

Mifsud Bette view full entry

Reference: see Photofile, Spring, 1989 for work illustrated on front and back covers.
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Baraki Bashir and Vince Dziekanview full entry

Reference: see Photofile, Spring, 1989 for for article by Jenny Zimmer
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Dziekan Vince and Bashir Barakiview full entry

Reference: see Photofile, Spring, 1989 for for article by Jenny Zimmer
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Photofileview full entry

Reference: Photofile, Spring, 1989 for for article by Jenny Zimmer
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989
Ref: 148

Moffatt Traceyview full entry

Reference: see Photofile, Spring, 1989 for for article by Patrick ?Crogan
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Hutak Michaelview full entry

Reference: see Photofile, Spring, 1989 for for article by Patrick ?Crogan
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Weary Geoffview full entry

Reference: see Photofile, Spring, 1989 for for two articles, p17-19
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Soloman and Bardwell photographers, view full entry

Reference: see Photofile, Spring, 1989 for article by Paul Fox p 32-3
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Chuck Thomas Foster photographer view full entry

Reference: see Photofile, Spring, 1989 for article by Paul Fox p 30-31
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Bardwell of Soloman and Bardwell photographers, view full entry

Reference: see Photofile, Spring, 1989 for article by Paul Fox p 32-3
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, Spring, 1989

Shifting Screenview full entry

Reference: Shifting Screens - Ida Jaros and Bette Mifsud
Publishing details: Blue Mountains City Art Galleryl, 2022 (?) exhibition invitation card
Ref: 148

Mifsud Betteview full entry

Reference: see Shifting Screens - Ida Jaros and Bette Mifsud
Publishing details: Blue Mountains City Art Galleryl, 2022 (?) exhibition invitation card

Jaros Idaview full entry

Reference: see Shifting Screens - Ida Jaros and Bette Mifsud
Publishing details: Blue Mountains City Art Galleryl, 2022 (?) exhibition invitation card

Mifsud Betteview full entry

Reference: Coming to Ground by Bette Mifsud, exhibition catalogue, 15 June - 28 August 2009, University of Western Sydney Art Gallery. With artist’s biograophy
Publishing details: University of Western Sydney Art Gallery, 2000, 8pp
Ref: 148

Mifsud Betteview full entry

Reference: Spare Time, by Bette Mifsud, with biography and 34 works listed.
Publishing details: Bondi Pavillion Gallery, 2013, 4pp, with invitation card inserted.
Ref: 148

Fereday Susan view full entry

Reference: see Amore - Susan Fereday, Jeff Gibson, Rosemary Laing, curated by Sally Couacaud, essay ‘That’s Amore’ by Edward Colless, 13 November - 8 December, 1990. With biogfraphies
Publishing details: Sydney : Artspace, 1990. Exhibition catalogue, folded sheet, pp. [6], illustrated,

Gibson Jeff view full entry

Reference: see Amore - Susan Fereday, Jeff Gibson, Rosemary Laing, curated by Sally Couacaud, essay ‘That’s Amore’ by Edward Colless, 13 November - 8 December, 1990. With biogfraphies
Publishing details: Sydney : Artspace, 1990. Exhibition catalogue, folded sheet, pp. [6], illustrated,

Laing Rosemary view full entry

Reference: see Amore - Susan Fereday, Jeff Gibson, Rosemary Laing, curated by Sally Couacaud, essay ‘That’s Amore’ by Edward Colless, 13 November - 8 December, 1990. With biogfraphies
Publishing details: Sydney : Artspace, 1990. Exhibition catalogue, folded sheet, pp. [6], illustrated,

Mifsud Betteview full entry

Reference: Mute - Bette Mifsud, Art Gallery of NSW exhivbition. 20 November, 1900 - 3 February, 1901, includes biography.
Publishing details: privately printed for Art Gallery of New South Wales, 1900, 4pp, with exhibition invite inserted.
Ref: 148

Laing Rosemary view full entry

Reference: Travels in Paradise - Rosemary Laing, Queensland Art Gallery exhibition, with biography, amd essay
Publishing details: Queensland Art Gallery, 1992, 6pp folding card
Ref: 148

Laing Rosemary view full entry

Reference: Rosemary Laing - from Paradise work. , , with biography, amd essay by Peter Hutchings.
Publishing details: Gertrude Street Gallery, 1991, 2pp.
Ref: 148

Jubelin Narelleview full entry

Reference: Narelle Jubelin - Second Glance (at ‘The Coming Man’) - Australia 1988-9, with essay
Publishing details: Mori Gallery, Sydney, 1988, and at Centre for the Arts Hobart, 1989, and at George Paton Gallery, Melbourne, 1989, 4pp
Ref: 148

Western Front - art is a social spaceview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp
Ref: 148

Benson Liamview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Caines Chrisview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Charuk Peter Eview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

ant miravview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

mirav ant view full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Mifsud Betteview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Ormella Raquelview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Penzer Brendanview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Ramos Melissaview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Smith Kamiview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Thi My Leview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Wei Guanview full entry

Reference: Western Front - art is a social space, exhibition at Blacktown Arts Centre, 9 June - 30 nJuly, 2005. Essays by Sophia Kouyoumdjian, Christopher Dean, John Cheeseman. Illustrated and with artists’ biographies
Publishing details: Blacktown Arts Centre, 2005, pb, 44pp

Cotton Oliveview full entry

Reference: brochure (DVD cover?) for Light Years, a film by Kathryn Millard. Illustrated and with synopsis of film
Publishing details: Ronin Films, 1991, folded card.
Ref: 148

Cotton Oliveview full entry

Reference: brochure (DVD cover?) for Light Years, a film by Kathryn Millard. Illustrated and with synopsis of film
Publishing details: Ronin Films, 1991, folded card.
Ref: 148

Cotton Oliveview full entry

Reference: Olive Cotton - Photographs 1924 - 1984, Australian Centre for Photographyt exhibition, (9 October 1985 – 3 November 1985). With checklist of 67 works, and biography, and essay
Publishing details: Centre for Photographyt exhibition, 1985, 6pp folding card,
inserted in Olive Cotton: A Life in Photography by Helen Ennis

Structures of necessityview full entry

Reference: Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp
Ref: 148

Barwell Jennyview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Brassil Joanview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Clark Allsonview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Coates Lizview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Cornish Christineview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Coventry Virginiaview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Ellis Nicoleview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Hucker Wendyview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Mackinnon Leahview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Parkin Rosemaryview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Scott Jillview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Sinn Maryroseview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Stocker Lauraview full entry

Reference: see Structures of necessity - exhibition at First Draft Gallery, Chippendale, Sydney, an exhibition in two parts : 20 September-2 October 1988, 4 October-16 October 1988 Includes artists’ biographies.
Publishing details: First Draft Gallery, Chippendale, Sydney, 1988, pb, 36pp

Tokyo Connection - Australiabn Artists Studio in Tokyoview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp
Ref: 148

Coates Liz 1987 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Mantzaris Diane1987 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Lucas Noelene 1987 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Laurence Janet 1988 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Kleem Geoff 1988 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Hinderaker Mark 1988 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Weary Geoff 1988 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

McCamley Jennifer 1989 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Garofano Clinton 1989 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Petrusevics Andrew 1989 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Thirkell Paul 1989 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Mifsud Bette 1990 residentview full entry

Reference: Tokyo Connection - Australiabn Artists Studio in Tokyo, 1987-1990. 12 artists, with biographies, illustrations.and list of works in exhibition
Publishing details: Australian Exhibitions Touring Agency, 1990, pb, 56pp

Winkler Paulview full entry

Reference: Paul Winkler: films 1964-94 / with contributions from Martha Ansara ... [et al.] ; [catalogue editors, David Watson and Brian Doherty]. Catalogue of an exhibtion held at the Museum of Contemporary Art (MCA), 7 July - 10 September 1995.
Publishing details: Museum of Contemporary Art, 1995, 72 p. : ill.

McCauley Jenniferview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Burchill Janetview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Thompson Ellenview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Young Johnview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Farrell Kateview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Roberts Caroleview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Lee Lindyview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Mifsud Betteview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Oechslin Retoview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Sheehan Kevinview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Thompson Brianview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Mills Catherineview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Cripps Peterview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Thomas Richardview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Moline Katherineview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Clark-Coolee Bronwynview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Donaldoson A D Sview full entry

Reference: see Various Artists Ltd - 1985-86 exhibitions, with essay by Rex Butler, 17 artists included in exhibition.
Publishing details: Potts Point, N.S.W. : Various Artists Ltd. (Publications), 1986.1986, 40pp approx, Limited ed. of 400 copies.

Josephione Ulrick & Win Schubert Photography Award 2006view full entry

Reference: Josephione Ulrick & Win Schubert Photography Award 2006. Judge: Julie Rrap, Foreword by John Walsh, Gallery Manager. 54 artists included (one photograph each, some illustrated). [To be indexed]
Publishing details: Gold Coast Cirt Art Gallery, 2006, pb, 16pp
Ref: 148

JUlrick osephione view full entry

Reference: see Josephione Ulrick & Win Schubert Photography Award 2006. Judge: Julie Rrap, Foreword by John Walsh, Gallery Manager. 54 artists included (one photograph each, some illustrated).
Publishing details: Gold Coast Cirt Art Gallery, 2006, pb, 16pp

Schubert Win view full entry

Reference: see Josephione Ulrick & Win Schubert Photography Award 2006. Judge: Julie Rrap, Foreword by John Walsh, Gallery Manager. 54 artists included (one photograph each, some illustrated).
Publishing details: Gold Coast Cirt Art Gallery, 2006, pb, 16pp

Photographt Award - Josephione Ulrick & Win Schuberview full entry

Reference: see Josephione Ulrick & Win Schubert Photography Award 2006. Judge: Julie Rrap, Foreword by John Walsh, Gallery Manager. 54 artists included (one photograph each, some illustrated).
Publishing details: Gold Coast Cirt Art Gallery, 2006, pb, 16pp

Stephenson Davidview full entry

Reference: winner of Josephione Ulrick & Win Schubert Photography Award 2002
Publishing details: Gold Coast Cirt Art Gallery, 2002

Ferran Anneview full entry

Reference: winner of Josephione Ulrick & Win Schubert Photography Award 2003
Publishing details: Gold Coast Cirt Art Gallery, 2003

Fahd Cherineview full entry

Reference: winner of Josephione Ulrick & Win Schubert Photography Award 2004
Publishing details: Gold Coast Cirt Art Gallery, 2004

Farrel & Parkinview full entry

Reference: winner of Josephione Ulrick & Win Schubert Photography Award 2004
Publishing details: Gold Coast Cirt Art Gallery, 2004

Farrell Rose - George Parkin view full entry

Reference: winner of Josephione Ulrick & Win Schubert Photography Award 2004
Publishing details: Gold Coast Cirt Art Gallery, 2004

Parkin George - Rose Farrell view full entry

Reference: winner of Josephione Ulrick & Win Schubert Photography Award 2004
Publishing details: Gold Coast Cirt Art Gallery, 2004

Photographyview full entry

Reference: see Josephione Ulrick & Win Schubert Photography Award 2006. Judge: Julie Rrap, Foreword by John Walsh, Gallery Manager. 54 artists included (one photograph each, some illustrated).
Publishing details: Gold Coast Cirt Art Gallery, 2006, pb, 16pp

Jerems Carolview full entry

Reference: Carol Jerems - Living in the 70s. Smith & Singer are delighted to present a major solo exhibition of photographs by renowned Australian artist, Carol Jerrems.
The digital catalogue for the forthcoming selling exhibition is now available to view online.
The exhibition will be open to the public from 26 May – 21 June 2025, Monday to Saturday, 10 am – 5 pm at Smith & Singer, 33 Lansell Road, Toorak.
Carol Jerrems: Living in the 70s represents one of the most comprehensive and fully documented commercial exhibitions of the artist’s work ever held.
In November 2019 Smith & Singer achieved a world auction record for an Australian photograph when a version of Vale Street (1975) (cat. no. 5) realised $122,000. This represented a significant milestone in the art market for Australian photography and also publicly recognised and acknowledged the enduring legacy of Carol Jerrems within the history and development of Australian art. In April 2025, Smith & Singer again established a world auction record with another version of Vale Street achieving $275,000.
To enquire about the exhibition, please contact our specialists below.
Publishing details: Smith & Singer, 2025, 18 works, online at https://www.smithandsinger.com.au/catalogue/AUEX036
Ref: 1000

Edwards Sandyview full entry

Reference: Sandy Edwards - A backward glance at Australian dfeminism.
The Institute for Australian and Asian Arts and Culture is honoured to present this very compelling exhibition showcasing selected photographic works by Sandy Edwards, a key figure in Australian photography. Emerging in the 1970s and 1980s, Sandy Edwards was instrumental in the feminist photography movement, using her documentary style to challenge traditional narratives, highlight issues of gender and identity, and question societal norms. Her work not only documents social conditions but also serves as a catalyst for dialogue and change, reflecting a profound commitment to feminist ideals.  About the Artist  Sandy Edwards is a prominent Australian photographer and curator renowned for her deeply personal approach to documentary photography, focusing on the portrayal of women and Aboriginal communities. After moving to Sydney from New Zealand in 1961, she received a BA in psychology from the University of Sydney in 1969 and later studied film at the Slade School of Fine Art in London from 1972 to 1973. Throughout the 1980s, she taught photography at Tin Sheds, the Sydney University Art Workshop.  In the 1970s and 1980s, Sandy emerged as a leading figure among progressive photographers dedicated to documenting social conditions with the intent to inspire change. Her work often draws from feminist ideals, critically examining media representations of women and exploring the portrayal of Aboriginal communities in Australia. Her sensitive and evocative photographs are taken with an intuitive response to feelings, people and place. She broadens the genre of portraiture to explore inter-relational themes such as trust, love and community.  Sandy was a founding member of the feminist photography collective "Blatant Image," established in 1979, alongside Helen Grace, Victoria Middleton, and Lyn Silverman. Together, they created photographic works that analysed and contrasted media representations of women.  Sandy has had many solo and group exhibitions in key Australian institutions, including the Art Gallery of New South Wales, the National Gallery of Australia, Queensland Art Gallery, Newcastle Art Gallery, as well as Sydney Writers Festival and Adelaide Festival. Her photographs are held in major collections such as the National Gallery of Australia, Art Gallery of New South Wales, Parliament House, and Monash Gallery of Art.  Beyond her photographic practice, Sandy has significantly contributed to the art community as a curator and mentor. She served as co-director and curator of Stills Gallery in Sydney from 1991 until its closure in 2017, one of Australia's foremost photographic galleries. In 2008, she founded Arthere, a new gallery model that provided services to photographers - consultation, mentoring, curating, exhibition production. Arthere has produced over 100 exhibitions.  Sandy's works continue to influence and inspire discussions around gender, identity, and community within the realm of documentary photography.  About the Exhibition  This exhibition features a selection of Sandy Edwards’ works from the 1970s, 1980s, and 1990s, serving as a snapshot of Australian feminism. The works are divided into nine sections: Shop Window Models (1974–1976); Women on Television Screen (1960s and 1970s); Women and Advertising (1976); CSR Sugar Refinery Project (1978); Women Filmmakers Conference at Minto (1979); Friends’ Role Play (1976–1980); Photos of Sandy Edwards by Michael Snelling (1980s–1999); Take a Nap from A Narrative with Sexual Overtones (1983); and Murawina: Australian Women of High Achievement (1993).

Publishing details: University of Western Sydney, 2025, [catalogue details to be entered]
Ref: 1000

Makigawa Akio view full entry

Reference: Smith & Singer are delighted to present a major solo exhibition of sculptures by renowned Australian artist, Akio Makigawa.
The digital catalogue for the forthcoming selling exhibition is now available to view online.
The exhibition will be open to the public from 26 May – 21 June 2025, Monday to Saturday, 10 am – 5 pm at Smith & Singer, 33 Lansell Road, Toorak.
Akio Makigawa presents for the first time the maquettes that were executed for the majority of the artist’s most definitive monumental public sculptures, several of which were never realised. The importance of these works remains particularly complex and multi-layered, for not only were they essential in translating an idea from a two-dimensional to three-dimensional state, they served as a daily reminder to Makigawa of his creative oeuvre and legacy, and provided inspiration for his future compositions.
Each maquette remained deeply personal, presiding in the artist’s home and never previously released for exhibition or sale. The present exhibition therefore represents a unique occasion for audiences to engage, appreciate and understand the creative process and achievements of one of Australia’s most influential sculptors.
Publishing details: Smith & Singer, 2025 [catalogue details to be entred] online at https://www.smithandsinger.com.au/catalogue/AUEX037
Ref: 1000

Flight Cluade schoolview full entry

Reference: see Olympia Auctions UK,
Lot 63, CLAUDE FLIGHT (BRITISH 1881-1955)
SPEED
signed CLAUDE FLIGHT upper left; numbered 11/50 lower left
linocut printed in cobalt blue, yellow ochre, vermilion and Prussian blue on buff oriental laid paper
22.5 cm by 30cm; 9 x 11 1/4 in (with margins)
50 x 55cm; 19 3/4 x 21 3/4in (framed)

Property from an English Private Collector

Literature
Claude Flight, Lino-cuts: A Hand-book of Linoleum-cut Colour Printing, London, 1927, illustrated on the frontispiece
Stephen Coppel, Linocuts of the Machine Age, London, 1995, p. 74, illustration of another example from the same edition

London is itself a Futurist City! Look at this brilliant-hued motor buses, these enormous glaring posters
(Filippo Marinetti)

Printed in 1922,

(bid 5,000 GBP or more)
Auctioneer's estimate
12,000 GBP - 18,000 GBP
Additional fees apply
36.00% Inc.VAT/sales tax

Flight was instrumental in the burgeoning interest in linocut printing after the First World War, and selected the present image to adorn the frontispiece of his first linocut textbook, Lino-cuts: A Hand-book of Linoleum-cut Colour Printing published in 1927 while teaching linocut classes at the Grosvenor School of Modern Art, London

Before the War Flight had attended Heatherley's School of Art, where he met his first wife. During the War he served in France as Captain in the Army Service Corps, there he purchased a neolithic chalk cave dug deep into the banks of the Seine near Paris (it subsequently became his regular summer retreat, to which he would invite his art students). In 1922 he married again, this time to Edith Lawrence, already an established artist who worked in various media, including linocuts.

Encouraged by Lawrence, Flight began to explore the medium for himself, finding it a compelling format for illustrating contemporary subject matter. He argued that the linocut was the medium of choice because it came with no historical baggage, there were no restrictions on what it could represent and linoleum was readily available, simple to work and easy to print up. In short it was the modern medium for the modern age and very much of the moment, offering the potential to introduce contemporary art to the home or the flat of the ordinary person.

In like manner, influenced by the Italian Futurists, Flight considered it the perfect way to capture the machine age and metropolitan life, expressing through his subject matter speed, dynamism and energy as in the present work. Flight noted: 'Traffic problems, transport problems; everybody is on the rush either for work or pleasure... the Painter cannot but be influenced by the restlessness of his surroundings' (The Original Colour Print Magazine, vol. 2, 1925).

The course Flight taught on linocut printing at the Grosvenor School between 1926 and 1930 and subsequently at his French cave was eagerly attended, attracting many keen adherents who became masters of the medium. His students included the likes of British artists Cyril Power and Sybil Andrews, Australians Ethel Spowers and Eveline Syme, New Zealander Frank Weitzel and Swiss artist Lill Tschudi, all of whom created a remarkable body of printed work, and are collectively known as the Grosvenor School of artists.

Not surprisingly, Flight was a very popular teacher. Eveline Syme recalled: 'Sometimes in his classes it is hard to remember that he is teaching so complete is the camaraderie between him and his students. He treats them as fellow artists rather than pupils, discusses with them and suggests to them, never dictates or enforces. At the same time he is so full of enthusiasm for his subject, and his ideas are so clearly reasoned, that it is impossible for his students not to be influenced by him.' ('Claude Flight and his Teaching', The Recorder, no. 3, September 1929).

With his zeal for the medium, Flight promoted linocuts in a series of exhibitions he organised in the inter-War years, including eight annual British Linocut Exhibition shows at the Redfern Gallery (1929-31) and the Ward Gallery (1933-37). In collaboration with the Redfern Gallery, in the 1930s Flight and his students also arranged Linocut exhibitions as far afield as America, Canada, China and Australia.

Cluade Flight Schoolview full entry

Reference: see Olympia Auctions UK,
Lot 63, CLAUDE FLIGHT (BRITISH 1881-1955)
SPEED
signed CLAUDE FLIGHT upper left; numbered 11/50 lower left
linocut printed in cobalt blue, yellow ochre, vermilion and Prussian blue on buff oriental laid paper
22.5 cm by 30cm; 9 x 11 1/4 in (with margins)
50 x 55cm; 19 3/4 x 21 3/4in (framed)

Property from an English Private Collector

Literature
Claude Flight, Lino-cuts: A Hand-book of Linoleum-cut Colour Printing, London, 1927, illustrated on the frontispiece
Stephen Coppel, Linocuts of the Machine Age, London, 1995, p. 74, illustration of another example from the same edition

London is itself a Futurist City! Look at this brilliant-hued motor buses, these enormous glaring posters
(Filippo Marinetti)

Printed in 1922,

(bid 5,000 GBP or more)
Auctioneer's estimate
12,000 GBP - 18,000 GBP
Additional fees apply
36.00% Inc.VAT/sales tax

Flight was instrumental in the burgeoning interest in linocut printing after the First World War, and selected the present image to adorn the frontispiece of his first linocut textbook, Lino-cuts: A Hand-book of Linoleum-cut Colour Printing published in 1927 while teaching linocut classes at the Grosvenor School of Modern Art, London

Before the War Flight had attended Heatherley's School of Art, where he met his first wife. During the War he served in France as Captain in the Army Service Corps, there he purchased a neolithic chalk cave dug deep into the banks of the Seine near Paris (it subsequently became his regular summer retreat, to which he would invite his art students). In 1922 he married again, this time to Edith Lawrence, already an established artist who worked in various media, including linocuts.

Encouraged by Lawrence, Flight began to explore the medium for himself, finding it a compelling format for illustrating contemporary subject matter. He argued that the linocut was the medium of choice because it came with no historical baggage, there were no restrictions on what it could represent and linoleum was readily available, simple to work and easy to print up. In short it was the modern medium for the modern age and very much of the moment, offering the potential to introduce contemporary art to the home or the flat of the ordinary person.

In like manner, influenced by the Italian Futurists, Flight considered it the perfect way to capture the machine age and metropolitan life, expressing through his subject matter speed, dynamism and energy as in the present work. Flight noted: 'Traffic problems, transport problems; everybody is on the rush either for work or pleasure... the Painter cannot but be influenced by the restlessness of his surroundings' (The Original Colour Print Magazine, vol. 2, 1925).

The course Flight taught on linocut printing at the Grosvenor School between 1926 and 1930 and subsequently at his French cave was eagerly attended, attracting many keen adherents who became masters of the medium. His students included the likes of British artists Cyril Power and Sybil Andrews, Australians Ethel Spowers and Eveline Syme, New Zealander Frank Weitzel and Swiss artist Lill Tschudi, all of whom created a remarkable body of printed work, and are collectively known as the Grosvenor School of artists.

Not surprisingly, Flight was a very popular teacher. Eveline Syme recalled: 'Sometimes in his classes it is hard to remember that he is teaching so complete is the camaraderie between him and his students. He treats them as fellow artists rather than pupils, discusses with them and suggests to them, never dictates or enforces. At the same time he is so full of enthusiasm for his subject, and his ideas are so clearly reasoned, that it is impossible for his students not to be influenced by him.' ('Claude Flight and his Teaching', The Recorder, no. 3, September 1929).

With his zeal for the medium, Flight promoted linocuts in a series of exhibitions he organised in the inter-War years, including eight annual British Linocut Exhibition shows at the Redfern Gallery (1929-31) and the Ward Gallery (1933-37). In collaboration with the Redfern Gallery, in the 1930s Flight and his students also arranged Linocut exhibitions as far afield as America, Canada, China and Australia.

Menpes Mortimerview full entry

Reference: see Olympia Auctions, London UK, 11.6.25, 15 works. Lots 1-15

Harkness Andrée collectorview full entry

Reference: see Gibsons Australian & International Art
May 25, 2026, catalogue entry for lot 57:
CLARICE BECKETT (1887-1935)
End of the Garden circa 1929
oil on board
signed lower left: C Beckett
33.5 x 41cm

PROVENANCE
Realities Gallery, Melbourne, 1979
Works from the late Andrée Harkness Collection, Melbourne

EXHIBITED
Clarice Beckett: Retrospective Exhibition 1921-1935, Realities Gallery, Melbourne, 11 October - 1 November 1979, cat. no. 12
Clarice Beckett: Politically Incorrect, Ian Potter Museum of Art, University of Melbourne, Melbourne, 30 April - 13 June 1999
Modern Australian Women: Works from a Private Collection, The Ian Potter Centre: National Gallery of Victoria, Melbourne, October 2018 - March 2019

LITERATURE
Hollinrake, Rosalind & Beckett, Clarice, 1887-1935, Clarice Beckett, the artist and her circle, Macmillan Company of Australia, Melbourne, 1979, p.47 (illus.), pl. 13
Andrée Harkness, Modern Australian Women Artists: The Andrée Harkness Collection, Amaled Pty Ltd, Melbourne, 2020, p. 6 (illus.), p. 7, p.28 (a copy of this book accompanies this work)

CATALOGUE ESSAY
Important works of art from the collection of the late Andrée Harkness (Lots 57-75)

Andrée Harkness was a collector of great integrity and vision who assembled an impressive collection of Australian art with pragmatic single-mindedness. She had a scientific background and studied to become a pharmacist, pausing her career to raise a family. She possessed creative talents as an amateur photographer, winning local prizes for her photographs. In her 20s, she visited the garden of Vita Sackville-West, and spent much of her lifetime cultivating an encyclopedic knowledge of horticulture and garden design. Her success in designing an impressive garden of her own earned her several commissioned projects in the field. Initially, Andrée acquired postcards and prints of the masters she saw in exhibitions on her travels abroad. She seriously began collecting art in the late 1970s when she saw the works of Clarice Beckett. From there, her collection evolved into a curated selection of significant artworks by predominantly Australian women artists. Andrée generously donated over 70 artworks by women artists to the National Gallery of Victoria. In her final years, the gallery celebrated her extensive collection with a standalone exhibition at the Ian Potter Centre, titled Modern Australian Women Artists, Works from a Private Collection. The following select artworks have remained in the family and are amongst some of Andrée's most cherished acquisitions from over 40 years of collecting.

Andrée first encountered Clarice Beckett's paintings in 1979 - a retrospective at Realities Gallery, Melbourne, curated by Rosalind Hollinrake, who revived the artist from the brink ofextinction. Andrée was immediately drawn to At the End of the Garden, circa 1929 - the locale and subject matter struck a chord of familiarity; minute details captured in fleeting expressive brushstrokes, such as the poise and attitude of a black chook. Beckett's transcendental scenes of daily life around Beaumaris and greater Melbourne are now highly prized and respected. She did not receive significant recognition for her work during her lifetime. Her journey, filled with hardship and suffering, resembled a harrowing tale by one of the Brontë sisters. Despite this, Beckett persisted with grit and determination, producing an oeuvre of misty tonal paintings that captured the atmosphere and many moods of developing Melbourne. The story and talent of Beckett inspired Andrée to investigate further, unearthing other women artists who had fallen into obscurity. Inspired by their art as much as their personal histories, it was ‘the independence, courage and confidence of many of these artists [that] have drawn me to them.'[1]

Andrées' collection honours the progressive influence of Australian printmakers from the early 19th century. The interwar period was an essential time in the development of Australian Modernist art, enhanced by the advent of speedier travel and communication between Australia and the world at large. The prints of Ethel Spowers, Eveline Symes, and Dorrit Black embody the modernist spirit. Spowers & Symes were close friends from Melbourne. They were well educated and raised in privileged families, and their fathers were rival newspaper tycoons. The Melbourne friends encouraged each other, travelling to London to study at The Grosvenor School of Modern Art under Ian McNab and Claude Flight, two years after Dorrit Black. They had arrived at a pivotal time. Futurism was an explosive force in London, and many artists produced works during this period that ennobled the machine age, featuring daily scenes of life played out in fractured cubist compositions. 'One favourite is Ethel Spowers' Wet Afternoon, 1930, cleverly designed to show a crowd of people and the angular rhythm of umbrellas, with the diagonal lines of rain giving tension and movement.'[2] There was an exciting sense of optimism in the medium's modern accessibility, speed and freedom from older printing traditions. 'Dorrit Black's composition of four string players, The Quarette, c. 1935, similarly captures the vitality and fleeting intensity of a group coalescing.. Black manipulates fractured cubist space and repetitive rhythmic cuts radiating out from the figures to create a scene of pulsing light, heat and energy.'[3] Flight featured all three artists in London exhibitions in the 1930s, and he championed the medium and his followers with a zealous intensity. Spowers, Symes and Black each gained relative success for women of their era, although their influence was still limited during their lifetime. Now very much celebrated, their artworks would be any collection's highlight.

Ultimately, Andrée's collection had the practical purpose of making her home a beautiful place to live, preferring works that had a livable quality to them in size and subject. Each room was a balanced and harmonious combination, and congruity between frames, furniture, periods, and mediums was all considered in the arrangement. Most of Andrée's artworks were acquired from auctions, she thoroughly researched and understood the value of each piece. She was a fierce bidder in the room and rarely relinquished once committed. Her collection boasts an impressive and highly sought-after wattle painting by Penleigh Boyd, the three girls gathering wattle in the centre of the composition, recalling childhood memories as one of three sisters. Her horticultural expertise and passion resonate in the glorious blooms of Arthur Streeton's Rhododendron still life. ‘What I look for in flower paintings is the choice of flowers, the selection of vase and particularly their arrangement in order to obtain a balance of composition and colour. To my eyes these features are often underrated.'[4] Streeton maintained great esteem for the skill required to paint flowers well and was also an avid gardener. ‘His love of flowers inveigles him into a manner with paint which makes them fragile, beautiful things.'[5]

Andrée's collection was innately personal to her. When asked what inspired her preference for mainly collecting women artists, she reflected that it was simply ‘the quality of their art.'[6] She endearingly referred to them as ‘her women' and would call them by their first name as if they were long-lost friends. ‘I must go and dust Dora, ' she would say to her partner Richard, which would elicit responses such as ‘Which Dora?'. Through years of discipline and refinement, Andrée's collection formed a cohesive narrative of Australian artists from the 1890s to the 1960s. With quiet determination, Andrée demonstrated the collaborative role private collectors can play in enhancing museum collections. These remaining works from the collection showcase her intuitive eye for composition and beauty, grounded in a deep understanding of context, history, and her own personal journey.

Sarah Garrecht

Footnotes
[1] Andree Harkness, Introduction, Modern Australian women artists, the Andrée Harkness collection, Amaled Pty Ltd, Melbourne, 2020, p. 9
[2] Ibid., p. 7
[3] Caroline Jordan, Printmakers, Modern Australian women artists, the Andrée Harkness collection, Amaled Pty Ltd, Melbourne, 2020, p. 152
[4] Andree Harkness, Introduction, Modern Australian women artists, the Andrée Harkness collection, Amaled Pty Ltd, Melbourne, 2020, p. 7
[5] Harold Herbert, The Art of Arthur Streeton, The Argus, 17 March 1931, p. 8
[6] Isobel Crombie in conversation with collection donor Andrée Harkness for ‘Modern Australian Women Artists', 2019

Figuerola Alma view full entry

Reference: see Gibsons Australian & International Art
May 25, 2026, for 5 works in catalogue

Rothe Marnya view full entry

Reference: ‘Marnya’s work explores our collective loss of connection to the natural world. Marnya's limited edition prints can be purchased from her website.’ She is well known for her revealing and authentic portraits of Australian artists and performers.
Publishing details: http://www.marnyarotheart.com

Upward Peterview full entry

Reference: at Lucky's International LLC US, auction 23.5.25, Lot 27 - Peter Upward, Mix Media on Paper,
Born: 1932. Died: 1984. Known for: Abstract painting. The abstract expressionist Peter Upward obtained formal art training from RMIT in Melbourne, followed by the Julian Ashton Art School in Sydney, where he studied under John Passmore who nurtured his burgeoning style and talent. Peter Upward held his first exhibition in 1959 at the Museum of Modern Art, Melbourne. In 1960, Upward and Passmore were founding members of the Sydney 9 group of abstract artists and exhibited in the manifesto show in 1961. This group included John Olsen and Clement Meadmore amongst its numbers.His works were included in the Australian Painting Today exhibition which toured nationally and internationally in 1963-64. The monumental and arguably the most recognized work by the artist, June Celebration 1960, in the collection of the National Gallery of Australia, shares striking similarity with Abstract, 1961 both enjoying bold gestural calligraphic strokes. James Gleeson mused on Upward's work, 'There is a certain kind of dancing in which the conscious mind surrenders its vigilance and the body becomes a vehicle for the transmission of emotion…energy that finds release in spontaneous action [bearing] an intimate relationship with the mood or mental state of the moment. Peter Upwards's [sic] paintings are like the movements of such a dancer.'Most evident in Abstract, 1961 is the influence of Japanese calligraphy which pervaded his work in this period. After he moved to London in 1962, Upward moved away from this style and was instead inspired by action painting, astrology and American beat poetry and jazz. A number of his works are in the collection of the Art Gallery of New South Wales, which held a survey exhibition of the artist's work in 1984, after his death.A retrospective exhibition was organized by the Penrith Regional Gallery in 2007 and Upward's work is also represented in other state, corporate and private collections, including those of the Sussan Corporation, Melbourne and James Fairfax, Sydney. Signed and dated 1962 lower left corner. Painting w/o frame 15" L x 10" W. Packing &

De Gzell, Varvara view full entry

Reference: see Auktionshaus Blank GmbH, Sunday, May 25, 2025: Lot 6: De Gzell, Varvara (1942 Australia - 1998 London) - Bunte Abstraktion (Welle), 1995, pastel on paper, signed and dated lower right, sheet dimensions approx. 65x50cm, framed under glass with passepartout, overall dimensions approx. 86 x 70 cm

Farrow Willview full entry

Reference: see Reeman Dansie Timed auction, UK, 1.6.25: lot 289:
Will Farrow (Australian b.c. 1892) two caricatures - Lord Snowdon, 38.5cm x 33cm, together with Robert Morley, 39cm x 22cm, both unframed
With a copy of The Ansdell Gallery, London, poster and catalogue page

Rudge Anne and Edwardview full entry

Reference: see Dreweatts 1759 auction, UK, 11.6.25, lot 198: MATHER BROWN (BRITISH 1761 - 1831) PORTRAIT OF ANNE RUDGE (NÉE NOUIALLE) (1761 - 1836) Oil on canvas 74 x 62cm (29 x 24¼ in.)
Provenance: The collection of a member of the Rudge family Thence by descent
The authenticity of this painting has previously been confirmed on the basis of photographs by Dorinda Evans.
Anne Rudge (1763-1836) is one of the earliest known published female botanical artists.
Her marriage to husband Edward Rudge (1763-1846), has been described as the perfect scientific and artistic partnership. Anne was already well educated and skilled in drawing before her marriage and was able to utilise her artistic ability by illustrating her husband's botanical research.
Edward was a wealthy landowner and skilled amateur botanist who published a major work, Plantarum Guianae, on the plants of Guiana between 1805 and 1807. At a time when many new specimens from Australia were being sent back to England, Edward Rudge made a significant contribution to Australian botany by describing twenty-seven Australian plants for the first time in a series of four papers delivered before the Linnean Society between 1805 and 1811.
Anne drew the fifty plates for Plantarum Guianae, as well as producing the illustrations for the papers her husband wrote for the Linnean Society. Her drawings were held in such high esteem during her lifetime that a species of water lily was named after her.

Deberenger Rayview full entry

Reference: see Curated Gallery Auctions, Brooklyn, NY, 1.6.2025, lot 276, Ray Deberenger (B.1884) Antique WPA Modernist Loading Dock Industrial Factory Painting. A note on the back reads: Ray A, Deberenger, lived in San Francisco, born in Australia, worked for san Francisco Chronicle, 1908-1910, exhibited Newspaper Artists of San Franciisco.

Hemy Bernard Benedict (United Kingdom, Australia, 1845 - 1913) view full entry

Reference: see Broward Auction Gallery LLC
Dania Beach, FL, US, 26.5.25, lot 134: Lot 134
ARTIST: Bernard Benedict Hemy (United Kingdom, Australia, 1845 - 1913)
TITLE: Harbor Scene
MEDIUM: oil on canvas
CONDITION: One scratch in the right part of the painting. Few small paint losses. Some craquelure. Some scattered inpaintings. Minor damages to frame.
ART SIZE: 20 x 30 inches / 50 x 76 cm
FRAME SIZE: 25 x 35 inches / 63 x 88 cm
SIGNATURE: lower right
LOCATION: This lot is located at our Dania Beach, FL office.
CATEGORY: old antique vintage painting for auction sale online
AD: ART WANTED: Consign, Trade In, Cash Offer
SKU#: 132966
US SHIPPING: $139 + insurance.

BIOGRAPHY:
The youngest brother of noted British marine watercolorist Charles Napier Hemy (1841-1917) and Thomas Hemy (1852-1937) also a marine painter, Bernard Hemy was born in Australia where his family had emigrated in 1852. Like both of his siblings, he later returned to his family's traditional home at Newcastle-on-Tyne where he settled to paint for the remainder of his life in North Shields.
It is likely that he studied art at the Newcastle Art School where both of his brothers attended. Unlike them however, he was not widely traveled, preferring the quieter life of the North East Coast of England. Throughout his career he displayed a strong competence at creating realistic portrayals of every day marine activity, skillfully documenting coastal and harbor views as well as local fishing scenes of the period.
Today, paintings by Bernard Benedict Hemy are scarce. He is known to have exhibited at the Suffolk Street Gallery in London in both 1875 and 1877 and was a participant in various other English exhibitions during his lifetime.

Tildesley Edwaqrd Arthur view full entry

Reference: see Phillip Caldwell Auctioneers, A FASCINATING COLLECTION “ANTIQUITIES-EPHEMERA-ART”-MOSTLY UNRESERVED THE OBSESSION OF A GENT, 1.6.25, lot 11, EDWARD ARTHUR TILDESLEY “CORROBEREE TREE,ST KILDA C 1840s” TITLED “OLD GUMS IN THE RESERVE,St KILDA C1840s Of historical importance a painting of significance and rarity.Signed with initials E.A.T for EdwiArthur TILDESLEY The Corroboree Tree located in St Kilda, Victoria. This significant tree is a large, old River Red Gum (Eucalyptus camaldulensis) that is estimated to be between 300 and 500 years old. It holds cultural significance for the local Aboriginal community, serving as a gathering place for centuries to the and a site for ceremonies, or corroborees. The road beside the tree was reportedly diverted from the original plans to preserve it. (See photos for more details)

Terry Frederick Cview full entry

Reference: Landscape Scenery, Illustrating Sydney, Paramatta, Richmond, Newcastle, Windsor, and Port Jackson, New South Wales

Circa 1862, "a partial republication of Sands and Kenny's Landscape Scenery first published in 1855. It contains only twenty of the original forty plates of that work and these have had alterations made to them. On the title page plate 'Newcastle' has replaced 'Maitland', the date 1855 has been erased, and the imprint changed; on the other plates the spelling of the artist's name, F. C. Terry, has been corrected, various inaccurate titles altered and the original plate numbers erased." FERGUSON 15438. WANTRUP 259b.
Publishing details: Sydney and Melbourne: John Sands and Sands & McDougall, No date. 18cm x 26cm. 20 plates (including title), tissue guards. Original blue cloth preserving the spine), gilt lettering and decoration.

Williams Fredview full entry

Reference: The Diaries of Fred Williams. Edited by Patrick McCaughey (with John Timlin)

Publishing details: The Miegunyah Press, Melbourne, 658 pp,
Ref: 1009

Allen Dr Rebeccaview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Alexander Lisaview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Beiermann Danielleview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Bernard Melissaview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Blacker Charlieview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

de Brito Chloeview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Chapman Garyview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Cooke Terryview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Crosthwaite Craigview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Denton Louiseview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Desailly Chrisview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Dibben Rosalieview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Dibbs Carlaview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Disbury Mikeview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Dunlop Kerryview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Farrelly Clareview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Fenton Naomiview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Gardiner Lachlanview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Garner Eliseview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Hall Michaelview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Harder Forestview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Hicks Davidview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Holloway Craigview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Johnson Jodieview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Lang Robertview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Lewis Heideview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

McInnes Andrewview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

McKinney Justinview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Murray Scottview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Nash Jodieview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Naylor Rowenaview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Nelson Paulview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Newnan Michelleview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

O’Keefde Joanneview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Page Oliviaview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Pedersen Shaneview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Powell Anneview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Purslow Natalieview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Radler Garyview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Ritchie Jonahview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Ritchie Jonahview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Roe Angieview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Rouse Phoebeview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Bolfrini Francescoview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Svendsen Runeview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Telfer Carloview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Thompson Leah-Anneview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Vann Gillianview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Veentjer Davidview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Volzke Astridview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Webster Daleview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Worner Janeview full entry

Reference: see In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [To be indexed] [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations

Martini Nerineview full entry

Reference: Nerine Martini - Voyage and Home, a retrospective July 8, 2023, - August 13, 2024
Publishing details: CBD Gallery, Sydney, 2023, pb, 16pp
Ref: 148

Prints 4 Ukraineview full entry

Reference: Prints 4 Ukraine by Artists4Ukraine, curated by Nick Vickers, Each artist has a work illustrated in colour with details but with no biographical information.
Publishing details: CBD Gallery, 2023, pb, 39pp
Ref: 148

Kingston Peterview full entry