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Minchen E W 1852-1913view full entry

Reference: From Vince Day Fine Art, January, 2018:
Almost always known as E W Minchen, Edward was born in the Swan River Colony (Perth WA) in 1852, the son of pioneer settlers James Minchen and Elizabeth Fisher who moved to the Victorian goldfields soon after his birth and eventually settled in Mooroopna, near Shepparton.
At some point the family lived in Prahan and Edward exhibited three landscapes at the Victorian Art Academy’s first annual exhibition in 1870. At the third annual exhibition of the VAA, in 1773, the Age reviewer thought that his work called for ‘no special mention’ and that the ‘tone throughout’ in one painting was ‘far too uniform to be pleasant’. Edward was, after all, just twenty-one.
Colonial art critics seemed to very prone to make subjective assessments of paintings in those days, often based on comparisons to reality. One critic a few years later said, of a painting Minchen displayed of Bondi, that ‘the sea is the wrong colour’. Another critic noted that another of his paintings was ‘carefully rendered; the trees and distance are very natural…’.
From Vince Day Gallery, May, 2021:
‘Edward Minchen
Near Hartley Vale 1880
Watercolour on paper
Sheet Size: 36.5 x 51 cm
Painting Size:34 x 48 cm
Signed and dated lower centre

$3,500

 Exhibited at the inaugural show for the Royal Art Society in 1880. This was held in the Garden Palace in Sydney.

Catalogue 149 ‘Near Hartley Vale’ Sale price 7 pounds

 In 1878, Minchen moved from Melbourne to Sydney to follow his passion to become a professional painter. In Sydney he associated with artists, James Howe Carse, William Piguenit and John Barr Hoyte. Piguenit in particular was also alongside Minchen as  a founding member of the Royal Art Society of NSW. It is possible that one of the figures sketching in the foreground could be Piguenit. A painting exists in the Mitchell collection of the Grose River dated to 1880. 

Carse was also known to be a frequent visitor to the Mountains, several of his major works of the Grose Valley are dated 1876. 

This watercolour has stylistic references to that of artist and teacher Eugene Von Guerard whom Minchen had studied under in Melbourne. 

We believe that this painting was completed in Mt Victoria on the decent to Hartley Vale.’
Edward would have been taught at the VAA by Louis Buvelot and, as a student at the National Gallery of Victoria School from 1874 to 1877, was taught by Eugene Von Guerard. By 1878 he was showing every sign of being a very talented and gifted artist.
His involvement with the National Gallery of Victoria and the VAA inspired him to try his luck as a professional artist in Sydney in 1878, now aged twenty-five. He made several journey to and from Sydney by steamship and found casual employment at the NSW Survey Office as a ‘lithographer-draughtsman’. He was also obviously meeting and mixing with Sydney- based artists, as he was a founding member, along with J C Hoyte, James Howe Carse and William Piguenit, of the Art Society of NSW and was one of a delegation that met with Premier Henry Parkes seeking assistance for the new organisation. Parkes was supportive enough to join and lend his name to the enterprise.
Edward exhibited watercolours and oils at the society’s first exhibition, held in the Garden Palace, Sydney, in December 1880, and was the society’s first treasurer.
In 1881 Edward married Maybella Inches and they lived at Paddington before moving to a harbour-front cottage at Woolwich where they lived until the death of their infant daughter in 1886. Edward then sold his skiff and the cottage and they moved to View Street, Hunter’s Hill.
Minchen had by now developed a passion for painting scenes of Sydney Harbour and exhibited many of these at various Art Society shows in Sydney, Melbourne and Adelaide. He returned to the theme of ‘looking down the harbour’ often. In 1884 at the Victorian Jubilee Exhibition he showed Looking down Sydney Harbor, while Looking Towards Sydney Heads (valued at £5.5.0) was exhibited in 1887 at the Adelaide Jubilee International Exhibition.
His work as a draughtsman and lithographer for the Lands Department and the Survey Office led to a permanent position from 1884 and his work gradually took him away from exhibiting and serving on the committee of the Art Society.
A second daughter, Beatrice, was born in 1889 and the family moved to Chatswood in 1897. Edward continued to paint but his public service work as a photographer and lithographer saw him being less prolific than in the 1880s. In 1894, he started a new position as ‘artist’ with the Government Printer and, in that position, working with lithographer Henry Baron, produced a number of illustrations of native flora for the Botanical Society, which are in the archives at the Sydney Botanical Gardens.
His work was much admired in his lifetime and his contributions to the Art Society exhibitions were missed. The reviewer for the Illustrated Sydney News, reviewing the exhibition in September 1891, noted, ‘We do not see anything on Mr Minchen’s on the walls. This gentleman’s work is good enough to be missed.’

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Minchen E W 1852-1913

Reference: From Vince Day Fine Art, January, 2018:
Almost always known as E W Minchen, Edward was born in the Swan River Colony (Perth WA) in 1852, the son of pioneer settlers James Minchen and Elizabeth Fisher who moved to the Victorian goldfields soon after his birth and eventually settled in Mooroopna, near Shepparton.
At some point the family lived in Prahan and Edward exhibited three landscapes at the Victorian Art Academy’s first annual exhibition in 1870. At the third annual exhibition of the VAA, in 1773, the Age reviewer thought that his work called for ‘no special mention’ and that the ‘tone throughout’ in one painting was ‘far too uniform to be pleasant’. Edward was, after all, just twenty-one.
Colonial art critics seemed to very prone to make subjective assessments of paintings in those days, often based on comparisons to reality. One critic a few years later said, of a painting Minchen displayed of Bondi, that ‘the sea is the wrong colour’. Another critic noted that another of his paintings was ‘carefully rendered; the trees and distance are very natural…’.
From Vince Day Gallery, May, 2021:
‘Edward Minchen
Near Hartley Vale 1880
Watercolour on paper
Sheet Size: 36.5 x 51 cm
Painting Size:34 x 48 cm
Signed and dated lower centre

$3,500

 Exhibited at the inaugural show for the Royal Art Society in 1880. This was held in the Garden Palace in Sydney.

Catalogue 149 ‘Near Hartley Vale’ Sale price 7 pounds

 In 1878, Minchen moved from Melbourne to Sydney to follow his passion to become a professional painter. In Sydney he associated with artists, James Howe Carse, William Piguenit and John Barr Hoyte. Piguenit in particular was also alongside Minchen as  a founding member of the Royal Art Society of NSW. It is possible that one of the figures sketching in the foreground could be Piguenit. A painting exists in the Mitchell collection of the Grose River dated to 1880. 

Carse was also known to be a frequent visitor to the Mountains, several of his major works of the Grose Valley are dated 1876. 

This watercolour has stylistic references to that of artist and teacher Eugene Von Guerard whom Minchen had studied under in Melbourne. 

We believe that this painting was completed in Mt Victoria on the decent to Hartley Vale.’
Edward would have been taught at the VAA by Louis Buvelot and, as a student at the National Gallery of Victoria School from 1874 to 1877, was taught by Eugene Von Guerard. By 1878 he was showing every sign of being a very talented and gifted artist.
His involvement with the National Gallery of Victoria and the VAA inspired him to try his luck as a professional artist in Sydney in 1878, now aged twenty-five. He made several journey to and from Sydney by steamship and found casual employment at the NSW Survey Office as a ‘lithographer-draughtsman’. He was also obviously meeting and mixing with Sydney- based artists, as he was a founding member, along with J C Hoyte, James Howe Carse and William Piguenit, of the Art Society of NSW and was one of a delegation that met with Premier Henry Parkes seeking assistance for the new organisation. Parkes was supportive enough to join and lend his name to the enterprise.
Edward exhibited watercolours and oils at the society’s first exhibition, held in the Garden Palace, Sydney, in December 1880, and was the society’s first treasurer.
In 1881 Edward married Maybella Inches and they lived at Paddington before moving to a harbour-front cottage at Woolwich where they lived until the death of their infant daughter in 1886. Edward then sold his skiff and the cottage and they moved to View Street, Hunter’s Hill.
Minchen had by now developed a passion for painting scenes of Sydney Harbour and exhibited many of these at various Art Society shows in Sydney, Melbourne and Adelaide. He returned to the theme of ‘looking down the harbour’ often. In 1884 at the Victorian Jubilee Exhibition he showed Looking down Sydney Harbor, while Looking Towards Sydney Heads (valued at £5.5.0) was exhibited in 1887 at the Adelaide Jubilee International Exhibition.
His work as a draughtsman and lithographer for the Lands Department and the Survey Office led to a permanent position from 1884 and his work gradually took him away from exhibiting and serving on the committee of the Art Society.
A second daughter, Beatrice, was born in 1889 and the family moved to Chatswood in 1897. Edward continued to paint but his public service work as a photographer and lithographer saw him being less prolific than in the 1880s. In 1894, he started a new position as ‘artist’ with the Government Printer and, in that position, working with lithographer Henry Baron, produced a number of illustrations of native flora for the Botanical Society, which are in the archives at the Sydney Botanical Gardens.
His work was much admired in his lifetime and his contributions to the Art Society exhibitions were missed. The reviewer for the Illustrated Sydney News, reviewing the exhibition in September 1891, noted, ‘We do not see anything on Mr Minchen’s on the walls. This gentleman’s work is good enough to be missed.’

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Clemson Katieview full entry

Reference: see Rosebery’s auction, UK, 31 January, 2018, lot 47: Katie Clemson, Australian/British 1949-2007- “It's been rumoured that .... fell at the last!” 1980; woodcut printed in colours, signed, titled, numbered 12/20, and dated in pencil, 43.5x56.5cm: together with six woodcuts printed in colours by the same hand, titled “Photo Finish”, “Crowded Caulfield”, “Ode to Clarence the Clocker”, “I think we've done it!”, “From Our Box, Derby Day” and “Inner Tennis”, ea. signed, titled, numbered, and dated in pencil, 67x47.8cm (max), (7) (unframed) (ARR) Note: Born Kay Clemson in 1949 near West Wyalong, New South Wales, but later changed her name to Katie. After a foundation course at Croydon College of Art, Clemson studied fine art at the Central School from 1973 to 1978, where she was taught by Blair Hughes Stanton and Ian Mortimer. Her first show was in 1976, in London. From then on, she exhibited regularly in solo and group shows all over the world. Her work is held in public and private collections in the UK, Australia, Hong Kong, Malaysia, Canada and the United States. Clemson taught as a visiting lecturer at a variety of art colleges, including Canterbury, Maidstone, Glasgow and Winchester. In 1988 she was co-author with Rosemary Simmons of the Dorling Kindersley publication The Complete Manual of Relief Printmaking. In 1987 Clemson set up White Gum Press, a print workshop in the New Forest, and in 1992 she was elected to the Royal Society of Painter-Printmakers.

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Clemson Katie

Reference: see Rosebery’s auction, UK, 31 January, 2018, lot 47: Katie Clemson, Australian/British 1949-2007- “It's been rumoured that .... fell at the last!” 1980; woodcut printed in colours, signed, titled, numbered 12/20, and dated in pencil, 43.5x56.5cm: together with six woodcuts printed in colours by the same hand, titled “Photo Finish”, “Crowded Caulfield”, “Ode to Clarence the Clocker”, “I think we've done it!”, “From Our Box, Derby Day” and “Inner Tennis”, ea. signed, titled, numbered, and dated in pencil, 67x47.8cm (max), (7) (unframed) (ARR) Note: Born Kay Clemson in 1949 near West Wyalong, New South Wales, but later changed her name to Katie. After a foundation course at Croydon College of Art, Clemson studied fine art at the Central School from 1973 to 1978, where she was taught by Blair Hughes Stanton and Ian Mortimer. Her first show was in 1976, in London. From then on, she exhibited regularly in solo and group shows all over the world. Her work is held in public and private collections in the UK, Australia, Hong Kong, Malaysia, Canada and the United States. Clemson taught as a visiting lecturer at a variety of art colleges, including Canterbury, Maidstone, Glasgow and Winchester. In 1988 she was co-author with Rosemary Simmons of the Dorling Kindersley publication The Complete Manual of Relief Printmaking. In 1987 Clemson set up White Gum Press, a print workshop in the New Forest, and in 1992 she was elected to the Royal Society of Painter-Printmakers.

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Morgan Howardview full entry

Reference: see John Nicholson auction, UK, 31 January, 2018, lot 497: lHoward Morgan (1949- ) British. "Ginahgurra", A Street Scene in New South Wales, Watercolour, Signed and Inscribed, with Studio Stamp on Reverse, Unframed, 22.5" x 15.25", together with forty three others of various subjects, (44).

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Morgan Howard

Reference: see John Nicholson auction, UK, 31 January, 2018, lot 497: lHoward Morgan (1949- ) British. "Ginahgurra", A Street Scene in New South Wales, Watercolour, Signed and Inscribed, with Studio Stamp on Reverse, Unframed, 22.5" x 15.25", together with forty three others of various subjects, (44).

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Knoll Herbert (Australia/Germany b 1940)view full entry

Reference: Herbert Knoll exhibition catalogue, Roseville Galleries [outback scenes]
Publishing details: 1975
Ref: 1000

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Knoll Herbert (Australia/Germany b 1940)

Reference: Herbert Knoll exhibition catalogue, Roseville Galleries [outback scenes]

Publishing details: 1975

Location: 1000

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Kahler Carlview full entry

Reference: see Case Antiques auction, US, 27.1.18. lot 127: Carl Kahler (NY/California/Austraila/Austria, 1855-1906) oil on canvas painting depicting a green-eyed black and white Persian cat and grey striped kitten, both posed on a red velvet chair or loveseat, with table and glass vase beside it. Housed in the original gilt carved wood frame. Sight - 31 1/2" H x 47 1/2" W. Framed - 34 3/4" H x 51" W. Provenance: Private Knoxville, TN collection. Biography: Austrian born Carl Kahler studied at the Munich Art Academy and in Paris and specialized in painting figures, particularly animals. In 1886 he traveled to Austrailia, where he gained fame for three works depicting scenes of the 1885 Derby Day at the Flemington Racecourse in Australia. He died in the San Francisco Earthquake of 1906. Kahler's most famous pet portrait, "My Wife's Lovers," was commisioned by Kate Birdsall Johnson of San Francisco in 1891 and exhibited at the 1893 Chicago World's Fair. The massive 6 x 8.5 foot canvas depicts more than 30 cats and is regarded as one of the greatest cat paintings ever made (source: The Portland Art Museum, Askart, Edan Hughes "Artists in California, 1786-1902). CONDITION: Overall very good condition with painted edge visible at top. Slight buckling in upper right corner with small pin hole 1 1/2" from top. PHOTOS: Additional high-resolution photos are available at www.caseantiques.com

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Kahler Carl

Reference: see Case Antiques auction, US, 27.1.18. lot 127: Carl Kahler (NY/California/Austraila/Austria, 1855-1906) oil on canvas painting depicting a green-eyed black and white Persian cat and grey striped kitten, both posed on a red velvet chair or loveseat, with table and glass vase beside it. Housed in the original gilt carved wood frame. Sight - 31 1/2" H x 47 1/2" W. Framed - 34 3/4" H x 51" W. Provenance: Private Knoxville, TN collection. Biography: Austrian born Carl Kahler studied at the Munich Art Academy and in Paris and specialized in painting figures, particularly animals. In 1886 he traveled to Austrailia, where he gained fame for three works depicting scenes of the 1885 Derby Day at the Flemington Racecourse in Australia. He died in the San Francisco Earthquake of 1906. Kahler's most famous pet portrait, "My Wife's Lovers," was commisioned by Kate Birdsall Johnson of San Francisco in 1891 and exhibited at the 1893 Chicago World's Fair. The massive 6 x 8.5 foot canvas depicts more than 30 cats and is regarded as one of the greatest cat paintings ever made (source: The Portland Art Museum, Askart, Edan Hughes "Artists in California, 1786-1902). CONDITION: Overall very good condition with painted edge visible at top. Slight buckling in upper right corner with small pin hole 1 1/2" from top. PHOTOS: Additional high-resolution photos are available at www.caseantiques.com

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Phillips Richard ‘Dick’ 1894 - 1983view full entry

Reference: A Private Painter - The Art and Life of richard ‘Dick’ Phillips 1894 - 1983. Mosman Art Gallery Exhibition catalogue, November - December 2003. Introduction by Tony Geddes, Gallery Director, essay by Marjorie Day, Pat Hopper, Golda Dadour Guest, Suzanne Davey Includes biographical details and chronology,
Publishing details: Mosman Art Gallery, 2003. 6pp (colour photocopy)
Ref: 135

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Phillips Richard ‘Dick’ 1894 - 1983

Reference: A Private Painter - The Art and Life of richard ‘Dick’ Phillips 1894 - 1983. Mosman Art Gallery Exhibition catalogue, November - December 2003. Introduction by Tony Geddes, Gallery Director, essay by Marjorie Day, Pat Hopper, Golda Dadour Guest, Suzanne Davey Includes biographical details and chronology,

Publishing details: Mosman Art Gallery, 2003. 6pp (colour photocopy)

Location: 135

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Phillips R Wview full entry

Reference: see Phillips Richard ‘Dick’ 1894 - 1983 - A Private Painter - The Art and Life of richard ‘Dick’ Phillips 1894 - 1983. Mosman Art Gallery Exhibition catalogue, November - December 2003. Introduction by Tony Geddes, Gallery Director, essay by Marjorie Day, Pat Hopper, Golda Dadour Guest, Suzanne Davey Includes biographical details and chronology,
Publishing details: Mosman Art Gallery, 2003. 6pp (colour photocopy)

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Phillips R W

Reference: see Phillips Richard ‘Dick’ 1894 - 1983 - A Private Painter - The Art and Life of richard ‘Dick’ Phillips 1894 - 1983. Mosman Art Gallery Exhibition catalogue, November - December 2003. Introduction by Tony Geddes, Gallery Director, essay by Marjorie Day, Pat Hopper, Golda Dadour Guest, Suzanne Davey Includes biographical details and chronology,

Publishing details: Mosman Art Gallery, 2003. 6pp (colour photocopy)

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Pugh Cliftonview full entry

Reference: Clifton Pugh - one-man exhibition [his first]
Publishing details: Victorian Artists’ Society, 1957
Ref: 1000

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Pugh Clifton

Reference: Clifton Pugh - one-man exhibition [his first]

Publishing details: Victorian Artists’ Society, 1957

Location: 1000

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Colonial artview full entry

Reference: Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Colonial art

Reference: Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

Location: 0

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Meredith Louisa Anneview full entry

Reference: The romance of nature ; or, the flower seasons illustrated / by Mrs. Charles Meredith, nee Louisa Anne Twamley
Publishing details: London : Charles Tilt, 1839 
xx, 255 p. : ill. ; 21 cm.
Ref: 1000

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Meredith Louisa Anne

Reference: The romance of nature ; or, the flower seasons illustrated / by Mrs. Charles Meredith, nee Louisa Anne Twamley

Publishing details: London : Charles Tilt, 1839 
xx, 255 p. : ill. ; 21 cm.

Location: 1000

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Twamley Louisa Anneview full entry

Reference: see The romance of nature ; or, the flower seasons illustrated / by Mrs. Charles Meredith, nee Louisa Anne Twamley
Publishing details: London : Charles Tilt, 1839 
xx, 255 p. : ill. ; 21 cm.

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Twamley Louisa Anne

Reference: see The romance of nature ; or, the flower seasons illustrated / by Mrs. Charles Meredith, nee Louisa Anne Twamley

Publishing details: London : Charles Tilt, 1839 
xx, 255 p. : ill. ; 21 cm.

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King Philip Gidleyview full entry

Reference: The journal of Philip Gidley King : Lieutenant, R. N., 1787-1790 / edited by Paul G. Fidlon and R. J. Ryan
Publishing details: Sydney : Australian Documents Library, 1980 
xix, 401 p. : facsims., geneal. table, ; 25 cm. With index.
Ref: 1000

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King Philip Gidley

Reference: The journal of Philip Gidley King : Lieutenant, R. N., 1787-1790 / edited by Paul G. Fidlon and R. J. Ryan

Publishing details: Sydney : Australian Documents Library, 1980 
xix, 401 p. : facsims., geneal. table, ; 25 cm. With index.

Location: 1000

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Bougainville view full entry

Reference: Atlas, journal de la navigation autour du globe de la fregate la Thetis et de la corvette l'Esperance : a reproduction of the copy in the British Library / Hyacinthe de Bougainville
Publishing details: Alburgh, Norfolk : Archival Facsimiles, 1987 
[69] p., [1] folded leaf of plates : all ill., (some col.), maps ; 53 cm. Facsim. First published as part of Journal de la navigation autour du globe de la fregate la Thetis et de la corvette l'Esperance pendant les annees 1824, 1825 et 1826. Paris : A. Bertrand, 1837.
Ref: 1000

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Bougainville

Reference: Atlas, journal de la navigation autour du globe de la fregate la Thetis et de la corvette l'Esperance : a reproduction of the copy in the British Library / Hyacinthe de Bougainville

Publishing details: Alburgh, Norfolk : Archival Facsimiles, 1987 
[69] p., [1] folded leaf of plates : all ill., (some col.), maps ; 53 cm. Facsim. First published as part of Journal de la navigation autour du globe de la fregate la Thetis et de la corvette l'Esperance pendant les annees 1824, 1825 et 1826. Paris : A. Bertrand, 1837.

Location: 1000

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Creative Nationview full entry

Reference: Creative nation : Commonwealth cultural policy, October 1994

Publishing details: Canberra : Department of Communications and the Arts, 1994 
102 p. : ill. ; 26 cm. 
Ref: 1000

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Creative Nation

Reference: Creative nation : Commonwealth cultural policy, October 1994

Publishing details: Canberra : Department of Communications and the Arts, 1994 
102 p. : ill. ; 26 cm. 

Location: 1000

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arts policyview full entry

Reference: see Creative nation : Commonwealth cultural policy, October 1994

Publishing details: Canberra : Department of Communications and the Arts, 1994 
102 p. : ill. ; 26 cm. 

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arts policy

Reference: see Creative nation : Commonwealth cultural policy, October 1994

Publishing details: Canberra : Department of Communications and the Arts, 1994 
102 p. : ill. ; 26 cm. 

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Paper Moonview full entry

Reference: Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 
Ref: 1000

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Paper Moon

Reference: Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

Location: 1000

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Breen Melanieview full entry

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Breen Melanie

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Small Samanthaview full entry

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Small Samantha

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Pound Patrickview full entry

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Pound Patrick

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Davidson Leahview full entry

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Davidson Leah

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Moller Veraview full entry

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Moller Vera

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Stockdale Jacquiview full entry

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Stockdale Jacqui

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Farrell Roseview full entry

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Farrell Rose

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Parkin Georgeview full entry

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Parkin George

Reference: see Paper moon : 21 October-27 November 2005 / [curator and catalogue essay Ellie Ray]

Publishing details: Devonport, Tas. : Devonport Regional Gallery, 2005 
1 v. : ill. ; 17 cm. 

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Private Livesview full entry

Reference: see Private Lives - Australians at Home since Federation, by Peter Timms. [’A room-by-room tour of the Australian home since 1900.’] [’The evolution of domestic life’]. [to be indexed]
Publishing details: Melb. Miegunyah Press. 2008. 4to. Col.Ill. wrapps. 259pp. Many col & b/w ills. 1st ed.

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Private Lives

Reference: see Private Lives - Australians at Home since Federation, by Peter Timms. [’A room-by-room tour of the Australian home since 1900.’] [’The evolution of domestic life’]. [to be indexed]

Publishing details: Melb. Miegunyah Press. 2008. 4to. Col.Ill. wrapps. 259pp. Many col & b/w ills. 1st ed.

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Making the journeyview full entry

Reference: Making the journey : arts and disability in Australia / Mary Hutchison

Publishing details: Arts Access Australia, 2005 
v, 96 p. : ill., ports. ; 28 cm. 
Ref: 1000

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Making the journey

Reference: Making the journey : arts and disability in Australia / Mary Hutchison

Publishing details: Arts Access Australia, 2005 
v, 96 p. : ill., ports. ; 28 cm. 

Location: 1000

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Disabilities and the artsview full entry

Reference: see Making the journey : arts and disability in Australia / Mary Hutchison

Publishing details: Arts Access Australia, 2005 
v, 96 p. : ill., ports. ; 28 cm. 

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Disabilities and the arts

Reference: see Making the journey : arts and disability in Australia / Mary Hutchison

Publishing details: Arts Access Australia, 2005 
v, 96 p. : ill., ports. ; 28 cm. 

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disabilities and artistsview full entry

Reference: see Painters First by Marc Alexander

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disabilities and artists

Reference: see Painters First by Marc Alexander

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Glorious daysview full entry

Reference: Glorious days : Australia 1913 / edited by Michelle Hetherington. Part Three includes chapters on ‘Art and Artists’ by Andrew Sayers and ‘The State of Photography’ by Helen Ennis. [To be indexed]

Publishing details: National Museum of Australia Press, 2013 
©2013 
xiii, 226 pages : illustrations and portraits, some coloured ; 25 cm  Includes bibliographical references (pages 206-220) and index.
Ref: 1000

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Glorious days

Reference: Glorious days : Australia 1913 / edited by Michelle Hetherington. Part Three includes chapters on ‘Art and Artists’ by Andrew Sayers and ‘The State of Photography’ by Helen Ennis. [To be indexed]

Publishing details: National Museum of Australia Press, 2013 
©2013 
xiii, 226 pages : illustrations and portraits, some coloured ; 25 cm  Includes bibliographical references (pages 206-220) and index.

Location: 1000

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Hope Margaret 1848-1934view full entry

Reference: Character of the Blossom - Wildflowers of Tasmania by Margaret Hope. Includes essay by Caitlin Sutton, p 2-7. [Published to coincide with Allport Library and Museum of Fine Arts, 25 September 2015 - 16 January 2016. ‘This exhibition celebrates the work of Margaret Anderson Hope (1848-1934). She is now recognised as one of Tasmania's most important botanical artists. For a long time her work was overlooked. 
The Allport Library and Museum of Fine Arts recently bought thirty six watercolours that Hope painted in the 1880s. All of the paintings are of native Tasmanian plants and flowers. The works are bold, vibrant and scientifically accurate. She had intended to publish them as a book, and had prepared a title page and detailed index. Yet mysteriously it was never published. 
Now, more than a hundred years later, we have collaborated with the Australian Garden History Society to publish the work for the first time in a limited edition book. It is a fascinating record of native colonial Tasmanian flora. We are delighted to honour the wishes of Margaret Hope by bringing her work to a larger audience. 
This exhibition shows all thirty six original watercolours. It also includes a series of unfinished sketches by Hope from a private collection. A rare decorative screen painted by Hope only just discovered at an auction will also be on display. 
Publishing details: Allport Library and Museum of Fine Arts, Tasmanian Archive and Heritage Office, [2015], v, 82 pages : chiefly illustrations (all colour), portrait, original list of paintings on endpapers ; 33 cm 
(hardback)
Notes Includes bibliographic references (page 81) and index.

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Hope Margaret 1848-1934

Reference: Character of the Blossom - Wildflowers of Tasmania by Margaret Hope. Includes essay by Caitlin Sutton, p 2-7. [Published to coincide with Allport Library and Museum of Fine Arts, 25 September 2015 - 16 January 2016. ‘This exhibition celebrates the work of Margaret Anderson Hope (1848-1934). She is now recognised as one of Tasmania's most important botanical artists. For a long time her work was overlooked. 
The Allport Library and Museum of Fine Arts recently bought thirty six watercolours that Hope painted in the 1880s. All of the paintings are of native Tasmanian plants and flowers. The works are bold, vibrant and scientifically accurate. She had intended to publish them as a book, and had prepared a title page and detailed index. Yet mysteriously it was never published. 
Now, more than a hundred years later, we have collaborated with the Australian Garden History Society to publish the work for the first time in a limited edition book. It is a fascinating record of native colonial Tasmanian flora. We are delighted to honour the wishes of Margaret Hope by bringing her work to a larger audience. 
This exhibition shows all thirty six original watercolours. It also includes a series of unfinished sketches by Hope from a private collection. A rare decorative screen painted by Hope only just discovered at an auction will also be on display. 

Publishing details: Allport Library and Museum of Fine Arts, Tasmanian Archive and Heritage Office, [2015], v, 82 pages : chiefly illustrations (all colour), portrait, original list of paintings on endpapers ; 33 cm 
(hardback)
Notes Includes bibliographic references (page 81) and index.

Location: 0

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Mace Violet potter b1883view full entry

Reference: see Tasmanian Museum and Art Gallery. In 2016 a collection of Violet Mace’s Works was gifted to the TMAG. Her work sometimes included images by Aborigin=al artist Tommy Mccrea

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Mace Violet potter b1883

Reference: see Tasmanian Museum and Art Gallery. In 2016 a collection of Violet Mace’s Works was gifted to the TMAG. Her work sometimes included images by Aborigin=al artist Tommy Mccrea

Publishing details:

Location:

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Art on a stringview full entry

Reference: Art on a string : Aboriginal threaded objects from the Central Desert and Arnhem Land / Louise Hamby and Diana Young. [To be indexed]. Art on a string introduces the aesthetic and symbolic power of necklaces and other threaded objects made by Australian Aboriginal artists from the Central desert and Arnhem land.
Notes To accompany the exhibition held at Object galleries, 13 October - 2 December 2001.Includes bibliographical references. [to be indexed]
Publishing details: Object-Australian Centre for Craft and Design and the Centre for Cross-Cultural Research, 2001, 96 p. : col. ill., map, ports. ; 28 cm. 

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Art on a string

Reference: Art on a string : Aboriginal threaded objects from the Central Desert and Arnhem Land / Louise Hamby and Diana Young. [To be indexed]. Art on a string introduces the aesthetic and symbolic power of necklaces and other threaded objects made by Australian Aboriginal artists from the Central desert and Arnhem land.
Notes To accompany the exhibition held at Object galleries, 13 October - 2 December 2001.Includes bibliographical references. [to be indexed]

Publishing details: Object-Australian Centre for Craft and Design and the Centre for Cross-Cultural Research, 2001, 96 p. : col. ill., map, ports. ; 28 cm. 

Location: 0

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Materialityview full entry

Reference: Materiality : brick and block in contemporary Australian architecture / Ron Ringer, editor and curator. [to be indexed]
Publishing details: Dry Press Publishing, an imprint of Brickworks Limited, 2015 
©2015 
ix, 565 pages : illustrations (chiefly colour), plans ; 28 x 28 cm 
Ref: 1000

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Materiality

Reference: Materiality : brick and block in contemporary Australian architecture / Ron Ringer, editor and curator. [to be indexed]

Publishing details: Dry Press Publishing, an imprint of Brickworks Limited, 2015 
©2015 
ix, 565 pages : illustrations (chiefly colour), plans ; 28 x 28 cm 

Location: 1000

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Architecture in Australiaview full entry

Reference: see Materiality : brick and block in contemporary Australian architecture / Ron Ringer, editor and curator
Publishing details: Dry Press Publishing, an imprint of Brickworks Limited, 2015 
©2015 
ix, 565 pages : illustrations (chiefly colour), plans ; 28 x 28 cm 

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Architecture in Australia

Reference: see Materiality : brick and block in contemporary Australian architecture / Ron Ringer, editor and curator

Publishing details: Dry Press Publishing, an imprint of Brickworks Limited, 2015 
©2015 
ix, 565 pages : illustrations (chiefly colour), plans ; 28 x 28 cm 

Location:

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Edwardian artview full entry

Reference: see Glorious days : Australia 1913 / edited by Michelle Hetherington. Part Three includes chapters on ‘Art and Artists’ by Andrew Sayers and ‘The State of Photography’ by Helen Ennis. [To be indexed]

Publishing details: National Museum of Australia Press, 2013 
©2013 
xiii, 226 pages : illustrations and portraits, some coloured ; 25 cm  Includes bibliographical references (pages 206-220) and index.

×

Edwardian art

Reference: see Glorious days : Australia 1913 / edited by Michelle Hetherington. Part Three includes chapters on ‘Art and Artists’ by Andrew Sayers and ‘The State of Photography’ by Helen Ennis. [To be indexed]

Publishing details: National Museum of Australia Press, 2013 
©2013 
xiii, 226 pages : illustrations and portraits, some coloured ; 25 cm  Includes bibliographical references (pages 206-220) and index.

Location:

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Senior Williamview full entry

Reference: William Senior ("Red Spinner") NEAR AND FAR: AN ANGLER'S SKETCHES OF HOME SPORT AND COLONIAL LIFE

A rare first edition in two parts. The first, "Sketches of Home Sport," relates a year of sport with the rod in Britain, chiefly in pursuit of trout and pike. The second, "Sketches of Colonial Life," is all about Australia; sea-angling, hunting for kangaroo, 'possum, wild horses, dugong and wildfowl.

William Senior (1838-1920), was a British angler, author and editor. He was an angling writer for The Field - the world’s oldest country and field sports magazine, having been published continuously since 1853 - and later Editor (1900-1910). Under his nom de plume. ‘Red Spinner’, he was at the forefront of fishing advances and experimentation, primarily dry fly-fishing, although it was F. M. Halford - a Field contributor - who developed the dry fly ethos. In 1876 he was appointed Principal Shorthand Writer at the Queensland Hansard in Australia and was chief reporter there until 1881. He also contributed articles on angling and other topics to the Queenslander and other fishing journals and magazines under his nom de plume. His works include: Notable Shipwrecks (1873), Waterside Sketches: A Book For Wanderers and Anglers (1875), Travel and Trout in the Antipodes: An Angler’s Sketches in Tasmania and New Zealand (1880), Scotch Loch-Fishing (1883), Near and Far: An Anglers Sketches of Home Sport and Colonial Life (1890), A Mixed Bag: A Medley of Angling Stories and Sketches (1895), The Sea Fisher in Foreign Parts (1895), Pike and Perch (1900) and Lines in Pleasant Places: Being the Aftermath of an Old Angler (1920).
Publishing details: 1st Edition, 1888; Sampson Low, Marston, Searle & Rivington, London. 12mo., (125 x 193mm), ppxv, 304 [32]. Pictorial cloth boars of horsemen at coast; silver titles to front and gilt to spine.

Ref: 1000

×

Senior William

Reference: William Senior ("Red Spinner") NEAR AND FAR: AN ANGLER'S SKETCHES OF HOME SPORT AND COLONIAL LIFE

A rare first edition in two parts. The first, "Sketches of Home Sport," relates a year of sport with the rod in Britain, chiefly in pursuit of trout and pike. The second, "Sketches of Colonial Life," is all about Australia; sea-angling, hunting for kangaroo, 'possum, wild horses, dugong and wildfowl.

William Senior (1838-1920), was a British angler, author and editor. He was an angling writer for The Field - the world’s oldest country and field sports magazine, having been published continuously since 1853 - and later Editor (1900-1910). Under his nom de plume. ‘Red Spinner’, he was at the forefront of fishing advances and experimentation, primarily dry fly-fishing, although it was F. M. Halford - a Field contributor - who developed the dry fly ethos. In 1876 he was appointed Principal Shorthand Writer at the Queensland Hansard in Australia and was chief reporter there until 1881. He also contributed articles on angling and other topics to the Queenslander and other fishing journals and magazines under his nom de plume. His works include: Notable Shipwrecks (1873), Waterside Sketches: A Book For Wanderers and Anglers (1875), Travel and Trout in the Antipodes: An Angler’s Sketches in Tasmania and New Zealand (1880), Scotch Loch-Fishing (1883), Near and Far: An Anglers Sketches of Home Sport and Colonial Life (1890), A Mixed Bag: A Medley of Angling Stories and Sketches (1895), The Sea Fisher in Foreign Parts (1895), Pike and Perch (1900) and Lines in Pleasant Places: Being the Aftermath of an Old Angler (1920).

Publishing details: 1st Edition, 1888; Sampson Low, Marston, Searle & Rivington, London. 12mo., (125 x 193mm), ppxv, 304 [32]. Pictorial cloth boars of horsemen at coast; silver titles to front and gilt to spine.

Location: 1000

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Pearcey Eilean (1901-1999) view full entry

Reference: see John Nicholson auction lot 233 31 Januray 2018: Eilean Pearcey (1901-1999) Australian. 'Ram Gopal', The Celebrated Indian Dancer, Ink and Crayon, Signed in Pencil, Unframed, 17.25" x 12.75".

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Pearcey Eilean (1901-1999)

Reference: see John Nicholson auction lot 233 31 Januray 2018: Eilean Pearcey (1901-1999) Australian. 'Ram Gopal', The Celebrated Indian Dancer, Ink and Crayon, Signed in Pencil, Unframed, 17.25" x 12.75".

Publishing details:

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Craig Dr Cliffordview full entry

Reference: Christie’s catalogue, Vol 2 second day of sale. The Important Collection of Books, Manuscripts, Prints, Drawings and Paintings relating to the Discovery and History of Van Diemen's Land and Tasmania and with a few items relating to Australasia, the property of Dr Clifford Craig of Launceston . Over 1600 items described[to be indexed fully].

Clifford Craig (1896–1986), surgeon, radiologist, collector, conservationist and author, came to Tasmania as Surgeon-Superintendent of the Launceston General Hospital in 1926. He was a collector of early colonial furniture, books and documents, he amassed large and outstanding collections,
At the time of this remarkable auction in 1975 Clifford Craig was 79 and concerned about the high cost of insurance for his collection of books and art. He decided to take it to auction where it attracted great interest from antiquarian booksellers, the Victorian State Library and the Mitchell Library. Eventually the State Library of Tasmania bought approximately one third of the items.
Publishing details: 1975
Ref: 1009

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Craig Dr Clifford

Reference: Christie’s catalogue, Vol 2 second day of sale. The Important Collection of Books, Manuscripts, Prints, Drawings and Paintings relating to the Discovery and History of Van Diemen's Land and Tasmania and with a few items relating to Australasia, the property of Dr Clifford Craig of Launceston . Over 1600 items described[to be indexed fully].

Clifford Craig (1896–1986), surgeon, radiologist, collector, conservationist and author, came to Tasmania as Surgeon-Superintendent of the Launceston General Hospital in 1926. He was a collector of early colonial furniture, books and documents, he amassed large and outstanding collections,
At the time of this remarkable auction in 1975 Clifford Craig was 79 and concerned about the high cost of insurance for his collection of books and art. He decided to take it to auction where it attracted great interest from antiquarian booksellers, the Victorian State Library and the Mitchell Library. Eventually the State Library of Tasmania bought approximately one third of the items.

Publishing details: 1975

Location: 1009

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Scott Thomasview full entry

Reference: Sketches in Early Van Diemen's Lan by Thomas Scott ed by KR Von Stieglitz.
Publishing details: Fullers Bookshop Hobart Edition 1966. Hard cover with dust jacket. Dustjacket has slight wear to edges, and sun faded in places. Illustrated boards are in good condition with gilt titles. Internally clean and bright, free of any markings. This edition limited to 400 copies (300 for sale),
Ref: 1009

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Scott Thomas

Reference: Sketches in Early Van Diemen's Lan by Thomas Scott ed by KR Von Stieglitz.

Publishing details: Fullers Bookshop Hobart Edition 1966. Hard cover with dust jacket. Dustjacket has slight wear to edges, and sun faded in places. Illustrated boards are in good condition with gilt titles. Internally clean and bright, free of any markings. This edition limited to 400 copies (300 for sale),

Location: 1009

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Gurney Alex (1902-1955)
view full entry

Reference: Tasmanians Today, by Alex Gurney

Publishing details: 1926, published in Hobart, Tasmania, Australia, 1926, 60-pages,
Ref: 1000

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Gurney Alex (1902-1955)

Reference: Tasmanians Today, by Alex Gurney

Publishing details: 1926, published in Hobart, Tasmania, Australia, 1926, 60-pages,

Location: 1000

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Zaadstra Pieterview full entry

Reference: ‘Tales of the Atelier’, Vol 1 – a visual storybook of memoir vignettes, lessons & conversations by Pieter Zaadstra. "Tales of the Atelier are items of opinion by artist and author Pieter Zaadstra. These memoirs are quirky articles presented here and in future magazines."--Inside back cover. "Memoirs on: ekphrasis, impressionism, expressionism, atelier life, art insights, studio hints"--Volume 1 title page.
Publishing details: Full colour coffee table style magazine
size 27.5 mm x 21 mm x 96 pages
thick cover square spine perfect bound. "Published biannually (December and June)"--40° South Pty Ltd website.
Description based on: [December 2015] ; title from cover. Began with: Volume 1, [December 2015]; title from title page 
Ref: 1000

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Zaadstra Pieter

Reference: ‘Tales of the Atelier’, Vol 1 – a visual storybook of memoir vignettes, lessons & conversations by Pieter Zaadstra. "Tales of the Atelier are items of opinion by artist and author Pieter Zaadstra. These memoirs are quirky articles presented here and in future magazines."--Inside back cover. "Memoirs on: ekphrasis, impressionism, expressionism, atelier life, art insights, studio hints"--Volume 1 title page.

Publishing details: Full colour coffee table style magazine
size 27.5 mm x 21 mm x 96 pages
thick cover square spine perfect bound. "Published biannually (December and June)"--40° South Pty Ltd website.
Description based on: [December 2015] ; title from cover. Began with: Volume 1, [December 2015]; title from title page 

Location: 1000

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Zaadstra Pieterview full entry

Reference: ‘Tales of the Atelier’, Vol 2 - An art presentation about my experiences in the ‘Ateliers’ during the past 50 years.

‘An offer especially designed for my students, students at large, and everyone who appreciate creativity.’
Publishing details: Published? Or ezine?
Ref: 1000

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Zaadstra Pieter

Reference: ‘Tales of the Atelier’, Vol 2 - An art presentation about my experiences in the ‘Ateliers’ during the past 50 years.

‘An offer especially designed for my students, students at large, and everyone who appreciate creativity.’

Publishing details: Published? Or ezine?

Location: 1000

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Ways of Working view full entry

Reference: Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.
Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

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Ways of Working

Reference: Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.

Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

Location: 0

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Barratt Philview full entry

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.
Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

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Barratt Phil

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.

Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

Location:

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Robinson Noelineview full entry

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.
Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

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Robinson Noeline

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.

Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

Location:

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Frost Ruthview full entry

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.
Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

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Frost Ruth

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.

Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

Location:

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Cochrane Graceview full entry

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.
Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

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Cochrane Grace

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.

Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

Location:

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Carter Steveview full entry

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.
Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

×

Carter Steve

Reference: see Ways of Working, by Jim Marwood, [6 Photographers] with biographical information and essays.

Publishing details: Kenthurst [N.S.W.] : Kangaroo Press, 1986 
160 p. : ill., maps, ports. ; 27 cm. 

Location:

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textile artview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

textile art

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Farren Anneview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Farren Anne

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Fitzsimons Pamelaview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Fitzsimons Pamela

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Hatton Bethview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Hatton Beth

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Leong Gregview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Leong Greg

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Lindsay Saraview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Lindsay Sara

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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MacDonell Zoeview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

MacDonell Zoe

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

Close

Mooney Jeannieview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Mooney Jeannie

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

Close

O’Rourke Rosemaryview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

O’Rourke Rosemary

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Ryder Julieview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Ryder Julie

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Searles Naldaview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Searles Nalda

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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White Ilkaview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

White Ilka

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Whiteley Janeview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Whiteley Jane

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

Location:

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Williamson Lizview full entry

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.
Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

×

Williamson Liz

Reference: see Art textiles of the world : Volume 2: Australia edited by Matthew Koumis.
Subjects:
Textile fabrics -- Australia.
Textile designers -- Australia.
Textile crafts -- Australia.
Textile design -- Australia.
Artisans -- Australia.
Installations (Art) -- Australia.
Artists -- Australia.
Notes
Includes biographical references, essays and bibliographical references.

Publishing details: Winchester : Telos, c1999. Winchester, U.K. : Telos Art, 92 p. : col. ill., ports. ; 29 cm.
ill. (some col.) ; 29 cm.

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Sharples Johnview full entry

Reference: see Medals as Art - Australia and the Meszaros Tradition by John Sharples
Publishing details: Museums of Victoria, 1990

×

Sharples John

Reference: see Medals as Art - Australia and the Meszaros Tradition by John Sharples

Publishing details: Museums of Victoria, 1990

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Photography Tasmaniaview full entry

Reference: Man and Rivers - A photographic exhibition. Queen Victoria Museum and Art Gallery touring programme assisted by the Minister responsible for the arts through the Tasmanian Arts Advisory Board
Publishing details: Launceston, Tas. : Queen Victoria Museum and Art Gallery, 1985 
[20] p. : chiefly ill. ;
Ref: 1000

×

Photography Tasmania

Reference: Man and Rivers - A photographic exhibition. Queen Victoria Museum and Art Gallery touring programme assisted by the Minister responsible for the arts through the Tasmanian Arts Advisory Board

Publishing details: Launceston, Tas. : Queen Victoria Museum and Art Gallery, 1985 
[20] p. : chiefly ill. ;

Location: 1000

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Bishop Mervynview full entry

Reference: In dreams : Mervyn Bishop, thirty years of photography, 1960-1990 / curator and editor, Tracey Moffatt
Publishing details: Paddington, N.S.W. : Australian Centre for Photography, 1991 
112 p. : chiefly ill.
Ref: 1000

×

Bishop Mervyn

Reference: In dreams : Mervyn Bishop, thirty years of photography, 1960-1990 / curator and editor, Tracey Moffatt

Publishing details: Paddington, N.S.W. : Australian Centre for Photography, 1991 
112 p. : chiefly ill.

Location: 1000

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Artistic Heritage in a changing Pacificview full entry

Reference: Artistic Heritage in a changing Pacific, by Philip Dark , J C and Rose Roger G (eds)
Publishing details: Crawford House Press, hc, dw, 261pp

×

Artistic Heritage in a changing Pacific

Reference: Artistic Heritage in a changing Pacific, by Philip Dark , J C and Rose Roger G (eds)

Publishing details: Crawford House Press, hc, dw, 261pp

Location: 0

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Smith Gerardview full entry

Reference: The weekend artist : creative inspiration, techniques and simple projects designed to unleash your inner artist, by Gerard Smith

"Better known as the guy in the art shop, Gerard Smith introduces beginning artists to the world of paint in this unpretentious, practical guide. Stripping away the jargon, Smith demonstrates basic techniques and materials in a range of contemporary and very achievable projects that would be a bold addition to any home."--Provided by publisher. Includes index.
Publishing details: Murdoch Books, 2008 
224 p. : col. ill.
Ref: 1000

×

Smith Gerard

Reference: The weekend artist : creative inspiration, techniques and simple projects designed to unleash your inner artist, by Gerard Smith

"Better known as the guy in the art shop, Gerard Smith introduces beginning artists to the world of paint in this unpretentious, practical guide. Stripping away the jargon, Smith demonstrates basic techniques and materials in a range of contemporary and very achievable projects that would be a bold addition to any home."--Provided by publisher. Includes index.

Publishing details: Murdoch Books, 2008 
224 p. : col. ill.

Location: 1000

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Blackman Charlesview full entry

Reference: see All My Januaries. Pleasures of life and other essays, by Barbara Blackman. St. Barbara Blackman reflects on her life as a muse & iconic Australian arts identity. From her childhood in Brisbane, to her marriage to artist Charles Blackman, life in London & Paris & beyond.’
Publishing details: Uni of Queensland Press. 2016. Col.Ill. wrapps. 253pp.

×

Blackman Charles

Reference: see All My Januaries. Pleasures of life and other essays, by Barbara Blackman. St. Barbara Blackman reflects on her life as a muse & iconic Australian arts identity. From her childhood in Brisbane, to her marriage to artist Charles Blackman, life in London & Paris & beyond.’

Publishing details: Uni of Queensland Press. 2016. Col.Ill. wrapps. 253pp.

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Boyd Arthur and familyview full entry

Reference: see All My Januaries. Pleasures of life and other essays, by Barbara Blackman. St. Barbara Blackman reflects on her life as a muse & iconic Australian arts identity. From her childhood in Brisbane, to her marriage to artist Charles Blackman, life in London & Paris & beyond.’
Publishing details: Uni of Queensland Press. 2016. Col.Ill. wrapps. 253pp.

×

Boyd Arthur and family

Reference: see All My Januaries. Pleasures of life and other essays, by Barbara Blackman. St. Barbara Blackman reflects on her life as a muse & iconic Australian arts identity. From her childhood in Brisbane, to her marriage to artist Charles Blackman, life in London & Paris & beyond.’

Publishing details: Uni of Queensland Press. 2016. Col.Ill. wrapps. 253pp.

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Geometric Natureview full entry

Reference: Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.
Publishing details: Devonport Regional Gallery, 2008, pb,
Ref: 137

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Geometric Nature

Reference: Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.

Publishing details: Devonport Regional Gallery, 2008, pb,

Location: 137

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Keeling Davidview full entry

Reference: see Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.
Publishing details: Devonport Regional Gallery, 2008, pb,

×

Keeling David

Reference: see Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.

Publishing details: Devonport Regional Gallery, 2008, pb,

Location:

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Chatwin Deanview full entry

Reference: see Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.
Publishing details: Devonport Regional Gallery, 2008, pb,

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Chatwin Dean

Reference: see Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.

Publishing details: Devonport Regional Gallery, 2008, pb,

Location:

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Martin Davidview full entry

Reference: see Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.
Publishing details: Devonport Regional Gallery, 2008, pb,

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Martin David

Reference: see Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.

Publishing details: Devonport Regional Gallery, 2008, pb,

Location:

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Mestitz Anneview full entry

Reference: see Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.
Publishing details: Devonport Regional Gallery, 2008, pb,

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Mestitz Anne

Reference: see Geometric Nature - exhibition curated by Lucy Hawthorne. Biographical information on the 5 artists exhibiting.

Publishing details: Devonport Regional Gallery, 2008, pb,

Location:

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Coates Georgeview full entry

Reference: see Shimmering light : Dora Meeson and the Thames

[’A comprehensive exhibition monograph exploring Meeson's art and political activism. Edition of 400 numbered copies (this is no. 121). Dora Meeson (1869-1955) was an Australian expatriot painter and women's suffrage advocate who based herself in London.’] George Coates was married to Dora Meeson.
Publishing details: Castlemaine, Victoria : Castlemaine Art Gallery and Historical Society, 2013. Quarto; illustrated laminated covers; 71 pp; colour illustrations. Signed by author.

×

Coates George

Reference: see Shimmering light : Dora Meeson and the Thames

[’A comprehensive exhibition monograph exploring Meeson's art and political activism. Edition of 400 numbered copies (this is no. 121). Dora Meeson (1869-1955) was an Australian expatriot painter and women's suffrage advocate who based herself in London.’] George Coates was married to Dora Meeson.

Publishing details: Castlemaine, Victoria : Castlemaine Art Gallery and Historical Society, 2013. Quarto; illustrated laminated covers; 71 pp; colour illustrations. Signed by author.

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Dundas Patricia Aview full entry

Reference: The Bushland Plants of Kings Park, Western Australia, by Eleanor M. Bennett, illustrated by Patricia A. Dundas
Publishing details: Kings Park & Botanic Garden Perth 1988 First Softcover Edition 176pp, index, num col plates. Pictorial card covers. Signed by illustrator.

×

Dundas Patricia A

Reference: The Bushland Plants of Kings Park, Western Australia, by Eleanor M. Bennett, illustrated by Patricia A. Dundas

Publishing details: Kings Park & Botanic Garden Perth 1988 First Softcover Edition 176pp, index, num col plates. Pictorial card covers. Signed by illustrator.

Location: 0

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Hurley Frank p51-2view full entry

Reference: see The Far-Famed Blue Mountains of Harry Phillips by Kay Phillip. Bibliography lists books by Harry Phillips.
Publishing details: Second Back Row Press; 1985. paperback; 96 pages, b/w photos

×

Hurley Frank p51-2

Reference: see The Far-Famed Blue Mountains of Harry Phillips by Kay Phillip. Bibliography lists books by Harry Phillips.

Publishing details: Second Back Row Press; 1985. paperback; 96 pages, b/w photos

Location:

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photography in the Blue Mountains p15-17view full entry

Reference: see The Far-Famed Blue Mountains of Harry Phillips by Kay Phillip. Bibliography lists books by Harry Phillips.
Publishing details: Second Back Row Press; 1985. paperback; 96 pages, b/w photos

×

photography in the Blue Mountains p15-17

Reference: see The Far-Famed Blue Mountains of Harry Phillips by Kay Phillip. Bibliography lists books by Harry Phillips.

Publishing details: Second Back Row Press; 1985. paperback; 96 pages, b/w photos

Location:

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Blue Mountains photography ip15-17view full entry

Reference: see The Far-Famed Blue Mountains of Harry Phillips by Kay Phillip. Bibliography lists books by Harry Phillips.
Publishing details: Second Back Row Press; 1985. paperback; 96 pages, b/w photos

×

Blue Mountains photography ip15-17

Reference: see The Far-Famed Blue Mountains of Harry Phillips by Kay Phillip. Bibliography lists books by Harry Phillips.

Publishing details: Second Back Row Press; 1985. paperback; 96 pages, b/w photos

Location:

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Long Waterview full entry

Reference: Long Water - Aboriginal Art & Literature Annual 1988. Edited by Ulli Beier and Colin Johnson
Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

×

Long Water

Reference: Long Water - Aboriginal Art & Literature Annual 1988. Edited by Ulli Beier and Colin Johnson

Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

Location: 0

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Pike Jimmy essay by Ulli Beierview full entry

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson
Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

×

Pike Jimmy essay by Ulli Beier

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson

Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

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Thancoupie - essay view full entry

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson
Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

×

Thancoupie - essay

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson

Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

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Meeks Raymond - essay view full entry

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson
Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

×

Meeks Raymond - essay

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson

Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

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Papunya Tula art - essay view full entry

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson
Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

×

Papunya Tula art - essay

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson

Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

Location:

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Bardon Geoff and Papunya Tula art - essay view full entry

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson
Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

×

Bardon Geoff and Papunya Tula art - essay

Reference: see Long Water - Aboriginal Art & Literature 1988. Edited by Ulli Beier and Colin Johnson

Publishing details: Aborigonal Arists Agency, 1988, pb, 119pp

Location:

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Gulliver’s Travelsview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.
Ref: 224

×

Gulliver’s Travels

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location: 224

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Weaver Louiseview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Weaver Louise

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Horn Timothyview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Horn Timothy

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Swallow Rickyview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Swallow Ricky

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Silver Timview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Silver Tim

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Paramore Louiseview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Paramore Louise

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Giblett Richardview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Giblett Richard

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Calvert Mattview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Calvert Matt

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Robb Charlesview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Robb Charles

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Angus Jamesview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Angus James

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Andrae Craigeview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Andrae Craige

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Morton Callumview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Morton Callum

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

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Batorowicz Beataview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

×

Batorowicz Beata

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

Location:

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Moore Katieview full entry

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists
Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

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Moore Katie

Reference: Gulliver’s Travels - a touring exhibition of the Contemporary Art Services Tasmania. Illustrated in colour but no biographical information on the artists

Publishing details: Contemporary Art Services Tasmania. , 2002, pb, np.

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My name is Maloakaview full entry

Reference: My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.
Ref: 223

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My name is Maloaka

Reference: My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

Location: 223

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Andrew Brookview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

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Andrew Brook

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

Location:

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Bennett Gordonview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

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Bennett Gordon

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

Location:

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Cattapan Jonview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

×

Cattapan Jon

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

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Croft Brenda Lview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

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Croft Brenda L

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

Location:

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Johnson Timview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

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Johnson Tim

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

Location:

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Smith Leah Kingview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

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Smith Leah King

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

Location:

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Martin Mandyview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

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Martin Mandy

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

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Watson Judyview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

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Watson Judy

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

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Yang Williamview full entry

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.
Publishing details: Grafton Regional Gallery , 2001, pb.

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Yang William

Reference: see My name is Maloaka - imaging identity and place. The work of nine contemporary Australian artits, Grafton Regional Gallery exhibition. Artists biographies included.

Publishing details: Grafton Regional Gallery , 2001, pb.

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Shocking Diversityview full entry

Reference: Shocking Diversity - Print Council of Australia exhibition, 1987. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.
Ref: 137

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Shocking Diversity

Reference: Shocking Diversity - Print Council of Australia exhibition, 1987. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

Location: 137

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Rooney Elizabethview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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Rooney Elizabeth

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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Coleing Tonyview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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Coleing Tony

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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Debenham Pamview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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Debenham Pam

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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Garage Graphixview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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Garage Graphix

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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Gibson Jeffview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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Gibson Jeff

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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Lohse Kateview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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Lohse Kate

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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McMahon Marieview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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McMahon Marie

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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Redback Graphixview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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Redback Graphix

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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Worstead paulview full entry

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.
Publishing details: Print Council of Australia exhibition, 1987.

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Worstead paul

Reference: see Shocking Diversity - Print Council of Australia exhibition, 1987. 9 artists. Includes extensive biographical information.

Publishing details: Print Council of Australia exhibition, 1987.

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BROKE-N-ILLview full entry

Reference: BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.
Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.
Ref: 137

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BROKE-N-ILL

Reference: BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.

Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

Location: 137

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Case Bill p43view full entry

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.
Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Case Bill p43

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.

Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Brown Fred p43view full entry

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.
Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Brown Fred p43

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.

Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Hopkins Livingstone p41view full entry

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.
Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Hopkins Livingstone p41

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.

Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Scott Monte p32view full entry

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.
Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Scott Monte p32

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.

Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Koch Frank p26view full entry

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.
Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Koch Frank p26

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.

Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Marquet Claude p11ffview full entry

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.
Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Marquet Claude p11ff

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.

Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Steer Howard William coverview full entry

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.
Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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Steer Howard William cover

Reference: see BROKE-N-ILL - The Writing on the wall, cartoons from around the ‘Lock-Out’ 1909-1910. Produced and presented by Alan Katen Dunstan.

Publishing details: Alan Katen Dunstan, 1994, pb, 44pp.

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secret history of Australian art Aview full entry

Reference: A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

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secret history of Australian art A

Reference: A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

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Stevenson Michaelview full entry

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

×

Stevenson Michael

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

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Frank Daleview full entry

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

×

Frank Dale

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

Location:

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Dunn Richardview full entry

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

×

Dunn Richard

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

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Nixon Johnview full entry

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

×

Nixon John

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

Location:

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Fairskye Merilynview full entry

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

×

Fairskye Merilyn

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

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Earle Augustusview full entry

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

×

Earle Augustus

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

Location:

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Petyarre Kathleenview full entry

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

×

Petyarre Kathleen

Reference: see A secret history of Australian art / Rex Butler. [’Offers insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.’]

Full contents • Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
• Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
• Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
• Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
• Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
• Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Publishing details: Craftsman House Fine Art Publishing, 2002, pb,  152 p. : ill. ;

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Fifty Plusview full entry

Reference: Fifty plus : half a century of collecting at Muswellbrook Regional Arts Centre / Katrina Rumley. "Published on the occasion of the 50th anniversary of the Muswellbrook Art Prize and in conjunction with the exhibition '50 years of Muswellbrook Shire Collection 1958-2008' ... held at the Muswellbrook Regional Arts Centre, Muswellbrook, Australia, 22 August-5 October 2008."
Bibliography: p. 122-123. Commentaries on artworks included with some biographical information on the artists.

Publishing details: Muswellbrook, N.S.W. : Muswellbrook Regional Arts Centre, 2008 
127 p. : ill. (chiefly col.)

×

Fifty Plus

Reference: Fifty plus : half a century of collecting at Muswellbrook Regional Arts Centre / Katrina Rumley. "Published on the occasion of the 50th anniversary of the Muswellbrook Art Prize and in conjunction with the exhibition '50 years of Muswellbrook Shire Collection 1958-2008' ... held at the Muswellbrook Regional Arts Centre, Muswellbrook, Australia, 22 August-5 October 2008."
Bibliography: p. 122-123. Commentaries on artworks included with some biographical information on the artists.

Publishing details: Muswellbrook, N.S.W. : Muswellbrook Regional Arts Centre, 2008 
127 p. : ill. (chiefly col.)

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Siteview full entry

Reference: Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

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Site

Reference: Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.

Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

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Sydney Harbour imagesview full entry

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

×

Sydney Harbour images

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.

Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

Location:

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Port Jackson Painter/sview full entry

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

×

Port Jackson Painter/s

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.

Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

Location:

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Binns Fergus illustration view full entry

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

×

Binns Fergus illustration

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.

Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

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Anley Heriotview full entry

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

×

Anley Heriot

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.

Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

Location:

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Jones Jacob Williamview full entry

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

×

Jones Jacob William

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.

Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

Location:

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Dadswell Lyndonview full entry

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

×

Dadswell Lyndon

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.

Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

Location:

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Boyd Danielview full entry

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

×

Boyd Daniel

Reference: see Site / [publication concept, coordination and commissioning editor Ewen McDonald]. "... first published on the occasion of the opening of the refurbished and expanded MCA in March 2012"

Includes bibliographical references.

Publishing details: Museum of Contemporary Art, 2012 
[227] p. : col. ill., "1st edition of 1,000 copies"--maps., facsims., ports ;

Location:

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kanalaritja - an unbroken stringview full entry

Reference: kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

×

kanalaritja - an unbroken string

Reference: kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

Location: 0

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Brown Joan shell necklace makerview full entry

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

×

Brown Joan shell necklace maker

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

Location:

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Maynard Muriel shell necklace makerview full entry

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

×

Maynard Muriel shell necklace maker

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

Location:

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Greeno Aunty Dulcie shell necklace makerview full entry

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

×

Greeno Aunty Dulcie shell necklace maker

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

Location:

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Greeno Lola shell necklace makerview full entry

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

×

Greeno Lola shell necklace maker

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

Location:

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Fullard Aunty Corrie shell necklace makerview full entry

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

×

Fullard Aunty Corrie shell necklace maker

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

Location:

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James Jeanette shell necklace makerview full entry

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

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James Jeanette shell necklace maker

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

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Dickson Leonie shell necklace makerview full entry

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

×

Dickson Leonie shell necklace maker

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

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Nichols Verna shell necklace makerview full entry

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

×

Nichols Verna shell necklace maker

Reference: see kanalaritja - an unbroken string. [’kanalaritja: An Unbroken String celebrated the unique practice of Tasmanian Aboriginal shell stringing. This national touring exhibition featured stunning shell necklaces created in the 1800s, alongside necklaces from acclaimed makers of today and a new wave of stringers who learnt the tradition at cultural renewal workshops. It was on show at the National Museum of Australia from 10 August to 3 October 2017.’... ‘Shell stringing is a celebration of culture and a symbol of identity – an unbroken string that connects the Tasmanian Aboriginal Community to Ancestors, culture and Country – far beyond living memory.

Shell stringing at a luna tunapri workshop. Photo: Lucia Rossi.
Pierced shells from Tasmania’s west coast have dated the tradition to at least 1800 years ago. Shell stringing is the Tasmanian Aboriginal Community’s longest continued cultural practice.
A small group of Pakana (Tasmanian Aborigines) on the Bass Strait Islands maintained shell stringing through the 20th century. It remains one of the Community’s most precious and closely guarded traditions.
Keeping culture alive
In 2010, concerns by senior stringers about the future of shelling sparked a collaborative cultural renewal project: luna tunapri (women’s knowledge).
The Tasmanian Museum and Art Gallery worked with the Tasmanian Aboriginal Community to organise luna tunapri workshops where women who had not had shell stringing passed down through their families were guided through collecting, cleaning and stringing.
These women were encouraged to look in their local areas for shell collecting beaches and to use the knowledge shared with them to develop their own distinctive shell stringing styles and new traditions.
The women wanted to share their journey, inspiring the creation of the exhibition kanalaritja: An Unbroken String.
For the first time shell necklaces made by Pakana Ancestors in the 1800s, the innovative necklaces of the women on Cape Barren Island during the 1970s and 1980s, acclaimed makers of today and the new wave of stringers who learnt through luna tunapri are displayed together – celebrating Tasmanian Aboriginal shell stringing practices past, present and future.
Pakana proudly continue this unique tradition and honour the fortitude of their Ancestors who ensured its survival. Read more on TMAG’s kanalaritja website.’

Publishing details: Tasmanian Museum and Art Gallery, 2016, 116-pages.

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Tasmanian Insightsview full entry

Reference: Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Tasmanian Insights

Reference: Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Stillwell Geoffreyview full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Stillwell Geoffrey

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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jewellery in early Tasmania by Kevin Faheyview full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

jewellery in early Tasmania by Kevin Fahey

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Allport Library pictorial collectionview full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Allport Library pictorial collection

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Allport Library pictorial collectionview full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Allport Library pictorial collection

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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architecture in early Tasmania by Clive Lucasview full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

architecture in early Tasmania by Clive Lucas

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Asselin Charles p97view full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Asselin Charles p97

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Schuetz Monsieur p97view full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Schuetz Monsieur p97

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Rowntree Edward Casson p97view full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Rowntree Edward Casson p97

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Winch Edwardview full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Winch Edward

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Goodwin William Lushingtonview full entry

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

×

Goodwin William Lushington

Reference: see Tasmanian insights : essays in honour of Geoffrey Thomas Stilwell / Gillian Winter, editor.

Publishing details: Hobart : State Library of Tasmania, 1992 
x, 245 p., [6] p. of plates : ill. (some col.), ports. (some col.) With index.

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Australia's Heritage in Stampsview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Australia's Heritage in Stamps

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Colonial Collection Theview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Colonial Collection The

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Macarthur Johnview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Macarthur John

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Atkinson Jamesview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Atkinson James

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Cooper D Eview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Cooper D E

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Frome E Cview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Frome E C

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Carabain Jacquesview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Carabain Jacques

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Gouldsmith Edmundview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Gouldsmith Edmund

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Pitt Williamview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Pitt William

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Ireland Bview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Ireland B

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Lyall Charlesview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Lyall Charles

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Lyall Charlesview full entry

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

×

Lyall Charles

Reference: see [Colonial art] - Australia's Heritage in Stamps - The Colonial Collection. The Pastoral Era Australia 1810-1850, Rush for Gold Australia 1851-1870 and Boomtime Australia 1871-1890. The are few biographical references but some good illustrations by lesser known artists.

Publishing details: Australia Post, nd, np, First Edition; 8vo; 24, 24, 32; complete set with stamps; original stiff stapled illustrated wrappers, contained in original slip case, Includes 15 stamps which depict: Immigrants, Pioneers, Squatters, Shepherds & Explorers, Off To The Diggings, The Diggings, Panning For Gold, Commissioner's Tent & The Gold Escort, Land Boom, Building Boom, Investment Boom, Retail Boom, & Factory Boom.

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Murphy Edward Nevilleview full entry

Reference: Murphy's signals Hobart Town : the colonial ship flags and semaphore signal charts of convict guard Pte Edward Murphy, 99th Regiment of Foot, Van Dieman's Land / Mark L. Risby. Includes bibliographical references (pages 99-100). [Murphy painted watercolours, not only of flags but of ships and may have painted other subjects. There is a file on his work in the Witt Library in the Courauld Institute].

[’Mark Risby’s chance sighting of his own family’s house flag in an old chart sent him on a journey of discovery to uncover the eleven unique maritime artworks by a lowly convict guard in Van Diemen’s Land, Private Edward Murphy of the 99th Regiment of Foot (Lanarkshire Volunteers).

Murphy’s signal charts represent some of the most significant historical maritime art of Tasmania, produced by an untrained draughtsman in the remote island penal colony during the 1840s and 1850s.

These charts contain the only known drawings of the merchant ships’ Van Diemen’s Land Colonial Ensign and the entire collection of the individual merchant ships identification flags flown in old Hobart Town.

Bringing together all the known signal flag charts drawn by Murphy for the first time, this fascinating book shows in fine detail the 250 different flags and over 300 telegraphic semaphore signals and their decodes.

Lavishly illustrated and well researched, this book is an ideal addition to the bookshelves of anyone interested in vexillology, art, maritime history and general Tasmanian and Australian history.’]
Publishing details: Forty South Publishing, [2013] 
©2013 
xii, 100 pages : colour illustrations. Limited edition of 500 signed by the author.
Ref: 1009

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Murphy Edward Neville

Reference: Murphy's signals Hobart Town : the colonial ship flags and semaphore signal charts of convict guard Pte Edward Murphy, 99th Regiment of Foot, Van Dieman's Land / Mark L. Risby. Includes bibliographical references (pages 99-100). [Murphy painted watercolours, not only of flags but of ships and may have painted other subjects. There is a file on his work in the Witt Library in the Courauld Institute].

[’Mark Risby’s chance sighting of his own family’s house flag in an old chart sent him on a journey of discovery to uncover the eleven unique maritime artworks by a lowly convict guard in Van Diemen’s Land, Private Edward Murphy of the 99th Regiment of Foot (Lanarkshire Volunteers).

Murphy’s signal charts represent some of the most significant historical maritime art of Tasmania, produced by an untrained draughtsman in the remote island penal colony during the 1840s and 1850s.

These charts contain the only known drawings of the merchant ships’ Van Diemen’s Land Colonial Ensign and the entire collection of the individual merchant ships identification flags flown in old Hobart Town.

Bringing together all the known signal flag charts drawn by Murphy for the first time, this fascinating book shows in fine detail the 250 different flags and over 300 telegraphic semaphore signals and their decodes.

Lavishly illustrated and well researched, this book is an ideal addition to the bookshelves of anyone interested in vexillology, art, maritime history and general Tasmanian and Australian history.’]

Publishing details: Forty South Publishing, [2013] 
©2013 
xii, 100 pages : colour illustrations. Limited edition of 500 signed by the author.

Location: 1009

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Murphy's signals Hobart Townview full entry

Reference: see Murphy's signals Hobart Town : the colonial ship flags and semaphore signal charts of convict guard Pte Edward Murphy, 99th Regiment of Foot, Van Dieman's Land / Mark L. Risby. [Murphy painted watercolours. There is a file on his work in the Witt Library in the Courauld Institute.
Publishing details: Forty South Publishing, [2013] 
©2013 
xii, 100 pages : colour illustrations. Limited edition of 500 signed by the author.

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Murphy's signals Hobart Town

Reference: see Murphy's signals Hobart Town : the colonial ship flags and semaphore signal charts of convict guard Pte Edward Murphy, 99th Regiment of Foot, Van Dieman's Land / Mark L. Risby. [Murphy painted watercolours. There is a file on his work in the Witt Library in the Courauld Institute.

Publishing details: Forty South Publishing, [2013] 
©2013 
xii, 100 pages : colour illustrations. Limited edition of 500 signed by the author.

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Brees, Samuel Charlesview full entry

Reference: Brees, S. C. Pictorial Illustrations of New Zealand
Publishing details: Avon Fine Prints Ltd, Christchurch, 1968, limited edition number 404/1000, blind stamped red cloth gilt, with original card packing box,
Ref: 1000

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Brees, Samuel Charles

Reference: Brees, S. C. Pictorial Illustrations of New Zealand

Publishing details: Avon Fine Prints Ltd, Christchurch, 1968, limited edition number 404/1000, blind stamped red cloth gilt, with original card packing box,

Location: 1000

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Thompson R Mview full entry

Reference: see Wessex auction roomms, 3rd February, 2018, lot 598: British art association watercolour of Brisbane Waters R. M. Thompson 1937

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Thompson R M

Reference: see Wessex auction roomms, 3rd February, 2018, lot 598: British art association watercolour of Brisbane Waters R. M. Thompson 1937

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Spurling Stephenview full entry

Reference: album with 60 photographs documenting vast mineral formations and deposits within the cavernous Tasmanian underground by the Australian visual artist Stephen Spurling III (1876-1962).
‘With richly printed views of the flawlessly-lit cavern interiors containing dripping stalactites extending meters from the cave ceiling, and images of dusty light-beams pouring in from the bright outdoors. Silver prints, the images measuring approximately 6x8 inches (15.2x20.3 cm.), and the reverse, mounted recto only to thin pages, each with Spurling's credit and a caption in the negative or a handwritten caption on the page, each page also with a number corresponding to a detailed handwritten caption list on front cover verso. Oblong 4to, brown boards; twin-bolt binding. 1910s’

At Swann Auction Galleries 16.2.18, lot 244

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Spurling Stephen

Reference: album with 60 photographs documenting vast mineral formations and deposits within the cavernous Tasmanian underground by the Australian visual artist Stephen Spurling III (1876-1962).
‘With richly printed views of the flawlessly-lit cavern interiors containing dripping stalactites extending meters from the cave ceiling, and images of dusty light-beams pouring in from the bright outdoors. Silver prints, the images measuring approximately 6x8 inches (15.2x20.3 cm.), and the reverse, mounted recto only to thin pages, each with Spurling's credit and a caption in the negative or a handwritten caption on the page, each page also with a number corresponding to a detailed handwritten caption list on front cover verso. Oblong 4to, brown boards; twin-bolt binding. 1910s’

At Swann Auction Galleries 16.2.18, lot 244

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James Philview full entry

Reference: see Philjames [’The book opens with an informative note by Andrews-Day and an introduction by ALASKA’s director Sebastian Goldspink, whose unhurried words describe Philjames primarily as the cool, endearing and well-liked personality he is known to be in the art world he occupies. Curiously, the introduction has a title, ‘A New Hope’,obviously referring to the fourth Star Wars franchise but also to Goldspink’s personal belief in the artist, with whom he collaborates, staging Philjames’s exhibitions with ALASKA.
The book comprises 118 pages with 100exquisite reproductions of Philjames’s paintings and sculptures produced since the artist’s solo exhibition career kicked off in 2009. It was printed in Australia by Peachy Print and designed by Arnel Rodríguez, who is best known for his work on MCA Publications. There are also two essays, one by the Sydney Morning Herald art critic John McDonald and the other by the Guardian Australia art critic Dr Andrew Frost, both of which make encouraging reading. Every three or so pages, the book’s flow is punctuated by glossy yellow pages with red text seducing the reader to open a fold-out page onto a generously proportioned image of a landscape work or three-dimensional installation.
To commence, John McDonald proposes that art audiences could look at thousands of paintings from history, of people wearing wigs, without seeing anything of meaning. Whereas, within Philjames’ work, the jarring presence of an alien or superhero stuns the viewer. He expains: “Philjames has realised that the chief way we relate to history today is as one big Hollywood costume drama” and so it is acceptable to look and laugh out loud.
McDonald discusses the eerily familiar and obscure Hollywood and B-Movie references which also intrigue Dr Andrew Frost in his discussion, and assimilates Philjames’s personal experiences within a broader discussion of contemporary American street artists. McDonald then tempts the reader with Philjames’s personal history in the art world.
McDonald glances at Philjames’s brief association with The Hughes Gallery, lasting one solo exhibition, closely followed by his early departure from commercial galleries.
Shortly after this Philjames’s series titled Art is a Cunt appeared, with works depicting Warhol-inspired Campbell’s Soup tins and the continuation of his street-art antics affixing artworks to public walls or simply giving his works away. These are moments of frustration and disappointment which are sometimes untold in monographs but seem appropriate for an artist who has not, thus far, fitted into the commercial gallery mould as have his contemporaries Guy Maestri, Giles Alexander and James Drinkwater.
Frost places Philjames’s work into a context broadly within international art. Starting with British then American Pop artists, Frost eruditely acknowledges how Philjames’s work draws from a framework established by these artists, as well as shared sources of imagery from the science fiction of the Pulp Age (the 1920s) and the Golden Age (1937 to the late 1940s).
As with Frost’s recent ABC Television series Conquest of Space (2014)and the exhibition of the same title at UNSW Galleries (UNSW Art & Design, Sydney) in 2014, Frost also positions Philjames within his contemporary context in the genre of Australian neo-Pop. Familiar names including Johnny Romeo and Anthony Lister are mentioned because their iconographies remark upon a sourer, more kitsch science fiction, unlike Philjames’s, which is genuinely adoring. What Frost does not mention is that Romeo and Lister, who are more internationally profiled, have adopted and repeated stylised techniques which are unquestionably more ubiquitous than those of Philjames. The same might be argued about Philjames’s less generic choices of cultural iconography. Perhaps this could be Frost’s subtext?
If readers of Philjames previously failed to understand what Goldspink suggests to be self-explanatory imagery, or believed they simply could not identify with it, McDonald’s essay will deliver much needed context. If Frost fails to validate the imagery’s valuable commentary, the subtleties of Philjames’s humour may be wasted on the viewer. Rebel Scum 2014, depicting the Virgin Mary with a ray gun and Star Wars’ rebel flight helmet may not suit everyone’s taste but as Frost describes it “this is where Philjames’s paintings find their true and most lasting effect – the apparently joking but deadly serious restaging of archetypes in a cartoonish setting”.’]
Publishing details: Sarsaparilla Press. 2015, Philjames is a limited edition of 500 books

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James Phil

Reference: see Philjames [’The book opens with an informative note by Andrews-Day and an introduction by ALASKA’s director Sebastian Goldspink, whose unhurried words describe Philjames primarily as the cool, endearing and well-liked personality he is known to be in the art world he occupies. Curiously, the introduction has a title, ‘A New Hope’,obviously referring to the fourth Star Wars franchise but also to Goldspink’s personal belief in the artist, with whom he collaborates, staging Philjames’s exhibitions with ALASKA.
The book comprises 118 pages with 100exquisite reproductions of Philjames’s paintings and sculptures produced since the artist’s solo exhibition career kicked off in 2009. It was printed in Australia by Peachy Print and designed by Arnel Rodríguez, who is best known for his work on MCA Publications. There are also two essays, one by the Sydney Morning Herald art critic John McDonald and the other by the Guardian Australia art critic Dr Andrew Frost, both of which make encouraging reading. Every three or so pages, the book’s flow is punctuated by glossy yellow pages with red text seducing the reader to open a fold-out page onto a generously proportioned image of a landscape work or three-dimensional installation.
To commence, John McDonald proposes that art audiences could look at thousands of paintings from history, of people wearing wigs, without seeing anything of meaning. Whereas, within Philjames’ work, the jarring presence of an alien or superhero stuns the viewer. He expains: “Philjames has realised that the chief way we relate to history today is as one big Hollywood costume drama” and so it is acceptable to look and laugh out loud.
McDonald discusses the eerily familiar and obscure Hollywood and B-Movie references which also intrigue Dr Andrew Frost in his discussion, and assimilates Philjames’s personal experiences within a broader discussion of contemporary American street artists. McDonald then tempts the reader with Philjames’s personal history in the art world.
McDonald glances at Philjames’s brief association with The Hughes Gallery, lasting one solo exhibition, closely followed by his early departure from commercial galleries.
Shortly after this Philjames’s series titled Art is a Cunt appeared, with works depicting Warhol-inspired Campbell’s Soup tins and the continuation of his street-art antics affixing artworks to public walls or simply giving his works away. These are moments of frustration and disappointment which are sometimes untold in monographs but seem appropriate for an artist who has not, thus far, fitted into the commercial gallery mould as have his contemporaries Guy Maestri, Giles Alexander and James Drinkwater.
Frost places Philjames’s work into a context broadly within international art. Starting with British then American Pop artists, Frost eruditely acknowledges how Philjames’s work draws from a framework established by these artists, as well as shared sources of imagery from the science fiction of the Pulp Age (the 1920s) and the Golden Age (1937 to the late 1940s).
As with Frost’s recent ABC Television series Conquest of Space (2014)and the exhibition of the same title at UNSW Galleries (UNSW Art & Design, Sydney) in 2014, Frost also positions Philjames within his contemporary context in the genre of Australian neo-Pop. Familiar names including Johnny Romeo and Anthony Lister are mentioned because their iconographies remark upon a sourer, more kitsch science fiction, unlike Philjames’s, which is genuinely adoring. What Frost does not mention is that Romeo and Lister, who are more internationally profiled, have adopted and repeated stylised techniques which are unquestionably more ubiquitous than those of Philjames. The same might be argued about Philjames’s less generic choices of cultural iconography. Perhaps this could be Frost’s subtext?
If readers of Philjames previously failed to understand what Goldspink suggests to be self-explanatory imagery, or believed they simply could not identify with it, McDonald’s essay will deliver much needed context. If Frost fails to validate the imagery’s valuable commentary, the subtleties of Philjames’s humour may be wasted on the viewer. Rebel Scum 2014, depicting the Virgin Mary with a ray gun and Star Wars’ rebel flight helmet may not suit everyone’s taste but as Frost describes it “this is where Philjames’s paintings find their true and most lasting effect – the apparently joking but deadly serious restaging of archetypes in a cartoonish setting”.’]

Publishing details: Sarsaparilla Press. 2015, Philjames is a limited edition of 500 books

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Campbell Walter Sview full entry

Reference: fromm DAAO entry on Henry Curzon Allport: ‘Walter S. Campbell, whose family lived at Parramatta, later recollected Allport’s weekly drawing lessons at his father’s home.
‘.

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Campbell Walter S

Reference: fromm DAAO entry on Henry Curzon Allport: ‘Walter S. Campbell, whose family lived at Parramatta, later recollected Allport’s weekly drawing lessons at his father’s home.
‘.

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Early Australian Silverview full entry

Reference: see Early Australian Silver: The Houstone Collection by John Houstone
Publishing details: Halstead Press, 2012,

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Early Australian Silver

Reference: see Early Australian Silver: The Houstone Collection by John Houstone

Publishing details: Halstead Press, 2012,

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Australian glassview full entry

Reference: see Australian Glass of The 19th & Early 20th Century by Marjorie Graham
Publishing details: David Ell Press, 1981,hc

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Australian glass

Reference: see Australian Glass of The 19th & Early 20th Century by Marjorie Graham

Publishing details: David Ell Press, 1981,hc

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Architecture in Australiaview full entry

Reference: see Australian Gothic The Gothic Revival in Australian Architecture from the 1840s to the 1950s, by Brian Andrews. [
Publishing details: Melb. Miegunyah Press. 2001. Folio. Or.bds. Dustjacket. 194pp. Col.plates & many b/w ills. Fine. 1st ed. One thousand copies were printed.

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Architecture in Australia

Reference: see Australian Gothic The Gothic Revival in Australian Architecture from the 1840s to the 1950s, by Brian Andrews. [

Publishing details: Melb. Miegunyah Press. 2001. Folio. Or.bds. Dustjacket. 194pp. Col.plates & many b/w ills. Fine. 1st ed. One thousand copies were printed.

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Burbidge Nancyview full entry

Reference: BURBIDGE, Nancy T., GRAY, Max. FLORA OF THE A.C.T. Canberra. With many beautiful black & white illustrations by the
author.
Publishing details: ANU Press. 1976. (rep) Or.dec. cl. (sl. marked) 447pp. b/w ills.
Ref: 1000

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Burbidge Nancy

Reference: BURBIDGE, Nancy T., GRAY, Max. FLORA OF THE A.C.T. Canberra. With many beautiful black & white illustrations by the
author.

Publishing details: ANU Press. 1976. (rep) Or.dec. cl. (sl. marked) 447pp. b/w ills.

Location: 1000

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Reframing Artview full entry

Reference: CARTER, Michael. & GECZY, Adam. REFRAMING ART.[’Reframing Art is an introduction to the concepts relating to art history & theory. Arts value systems are examined, as well as the concept of art display, & the commodification of art.’]
Publishing details: Syd. UNSW Press. 2006. Col.Ill.wrapps. 239pp. col plates & b/w ills. Very good copy. 1st ed.
Ref: 1000

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Reframing Art

Reference: CARTER, Michael. & GECZY, Adam. REFRAMING ART.[’Reframing Art is an introduction to the concepts relating to art history & theory. Arts value systems are examined, as well as the concept of art display, & the commodification of art.’]

Publishing details: Syd. UNSW Press. 2006. Col.Ill.wrapps. 239pp. col plates & b/w ills. Very good copy. 1st ed.

Location: 1000

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Coulter R Wview full entry

Reference: WELLS, Ernest. THE BUBBLE GALLEON. A Holiday Pantomime. Set to pictures by R.W. Coulter.
Publishing details: Syd. Angus & Robertson. 1934. 4to. Or.ill.bds. Dustjacket. 110pp. Many b/w ills. 1st ed.. Muir 7907.
Ref: 1000

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Coulter R W

Reference: WELLS, Ernest. THE BUBBLE GALLEON. A Holiday Pantomime. Set to pictures by R.W. Coulter.

Publishing details: Syd. Angus & Robertson. 1934. 4to. Or.ill.bds. Dustjacket. 110pp. Many b/w ills. 1st ed.. Muir 7907.

Location: 1000

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Dellit Williamview full entry

Reference: Dellit taught at the North Melbourne School of Design. Teacher of George Coates.According to ADB entry on Coates.

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Dellit William

Reference: Dellit taught at the North Melbourne School of Design. Teacher of George Coates.According to ADB entry on Coates.

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Coates George (1869–1930)view full entry

Reference: George Coates by Richard Haese
This article was published in Australian Dictionary of Biography, Volume 8, (MUP), 1981
George James Coates (1869-1930), artist, was born on 9 August 1869 at Emerald Hill, Melbourne, son of John Coates, bookbinder, and his Irish-born wife Elizabeth, née Irwin. He attended St James's Grammar School and at 15 was apprenticed to the stained-glass firm, Ferguson and Urie. He first studied art under W. Dellit at the North Melbourne School of Design before attending evening drawing classes under F. McCubbin at the National Gallery School. He soon became one of the school's best draughtsmen. His father had died when George was 8 and, unhappy at home with his stepfather, he shared various studios in the city, living for a time with Lionel Lindsay and Hugh McLean in Elizabeth Street. Coates ran a drawing class in his Swanston Street studio where the students included Max Meldrum, Norman and Percy Lindsay, and George Bell. A fine swimmer and amateur boxer, he was dubbed 'king' of the bohemian student group, the 'Prehistoric Order of Cannibals'.
In 1895-96 Coates studied painting under L. Bernard Hall, acquiring both respect for the painter's craft and the approach of the Munich School—qualities that formed the basis for his later development. He won a travelling scholarship in 1896 and went to London next year before moving to Paris, where he worked at the Académie Julian and studied under Jean Paul Laurens. In Paris Coates renewed an acquaintance with a fellow art student, Dora Meeson (1869-1955), who arrived in 1898. She was born on 7 August 1869 at Hawthorn, Melbourne, daughter of John Thomas Meeson, schoolmaster, later barrister, and his wife Amelia, née Kipling, and grew up in New Zealand. A student at the Melbourne National Gallery School, and later the Slade School, London, Dora studied in Paris under Benjamin Constant and Laurens. The couple were engaged in France but could not afford to marry until 23 June 1903, some three years after their move to London. They resolved not to have children but to devote themselves to their artistic careers.
Coates and Meeson established themselves in Chelsea where they became members of an extensive circle of Australian expatriate artists. To earn money they contributed black and white illustrations to Dr H. S. Williams's Historians' History of the World and the Encyclopaedia Britannica. Coates had exhibited 'on the line' at the Old Salon in Paris in 1898 and continued to show there and at the Royal Academy. Recognition did not come until after 1910, with an honourable mention at the Old Salon, prominent public notice at the 1912 Royal Academy exhibition and success at the 1913 New Salon when he was elected an associate (a member in 1927). Numerous commissions followed and soon established him as one of London's leading portrait painters. He was a member of the Chelsea Arts Club, the International Society of Sculptors, Painters, and Gravers and the Royal Society of Portrait Painters. Meeson had the distinction of being the first Australian woman artist elected a member of the Royal Institute of Oil Painters.
Despite physical prowess Coates lacked a strong constitution; when Meeson visited Australia alone in 1913 to accompany an exhibition his health collapsed and she had to return to nurse him in Italy. In 1915 he enlisted in the Territorial Royal Army Medical Corps and served as an orderly at the 3rd London General Hospital, attaining the rank of sergeant. He was discharged in 1919 as physically unfit. While never an official war artist, he produced many portrait commissions for the Australian War Memorial. These included portraits of World War I heroes and a large group portrait of Major General (Sir William) Bridges and his staff in Egypt—on which Coates and Meeson worked after returning to Australia in 1921-22. Coates also painted portraits of Canadian war heroes.
Neither artist responded to developments in art after impressionism and their work remained firmly wedded to strictly representational modes. Primarily a portrait painter, the diffident and unassuming Coates was temperamentally disinclined to challenge accepted assumptions about art despite his admiration for Whistler, Dégas and Puvis de Chavannes. His realism emphasized a harmonious range of low tones and his approach was painstaking and obsessive. While able to handle large-scale works, his best portraits were more intimate such as 'Arthur Walker and his brother Harold' (1912) which reveal a sensitive response to character. Meeson is best known for her many fine impressions of the River Thames, a number of which were acquired after 1945 by the Port of London Authority.
Coates died suddenly in London of a stroke on 27 July 1930. A memorial exhibition of his work was opened in May 1931 at the New Burlington Galleries by Lord Birdwood. His wife continued an active artistic career until her death in London on 24 March 1955. The two were buried together in Rye cemetery.

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Coates George (1869–1930)

Reference: George Coates by Richard Haese
This article was published in Australian Dictionary of Biography, Volume 8, (MUP), 1981
George James Coates (1869-1930), artist, was born on 9 August 1869 at Emerald Hill, Melbourne, son of John Coates, bookbinder, and his Irish-born wife Elizabeth, née Irwin. He attended St James's Grammar School and at 15 was apprenticed to the stained-glass firm, Ferguson and Urie. He first studied art under W. Dellit at the North Melbourne School of Design before attending evening drawing classes under F. McCubbin at the National Gallery School. He soon became one of the school's best draughtsmen. His father had died when George was 8 and, unhappy at home with his stepfather, he shared various studios in the city, living for a time with Lionel Lindsay and Hugh McLean in Elizabeth Street. Coates ran a drawing class in his Swanston Street studio where the students included Max Meldrum, Norman and Percy Lindsay, and George Bell. A fine swimmer and amateur boxer, he was dubbed 'king' of the bohemian student group, the 'Prehistoric Order of Cannibals'.
In 1895-96 Coates studied painting under L. Bernard Hall, acquiring both respect for the painter's craft and the approach of the Munich School—qualities that formed the basis for his later development. He won a travelling scholarship in 1896 and went to London next year before moving to Paris, where he worked at the Académie Julian and studied under Jean Paul Laurens. In Paris Coates renewed an acquaintance with a fellow art student, Dora Meeson (1869-1955), who arrived in 1898. She was born on 7 August 1869 at Hawthorn, Melbourne, daughter of John Thomas Meeson, schoolmaster, later barrister, and his wife Amelia, née Kipling, and grew up in New Zealand. A student at the Melbourne National Gallery School, and later the Slade School, London, Dora studied in Paris under Benjamin Constant and Laurens. The couple were engaged in France but could not afford to marry until 23 June 1903, some three years after their move to London. They resolved not to have children but to devote themselves to their artistic careers.
Coates and Meeson established themselves in Chelsea where they became members of an extensive circle of Australian expatriate artists. To earn money they contributed black and white illustrations to Dr H. S. Williams's Historians' History of the World and the Encyclopaedia Britannica. Coates had exhibited 'on the line' at the Old Salon in Paris in 1898 and continued to show there and at the Royal Academy. Recognition did not come until after 1910, with an honourable mention at the Old Salon, prominent public notice at the 1912 Royal Academy exhibition and success at the 1913 New Salon when he was elected an associate (a member in 1927). Numerous commissions followed and soon established him as one of London's leading portrait painters. He was a member of the Chelsea Arts Club, the International Society of Sculptors, Painters, and Gravers and the Royal Society of Portrait Painters. Meeson had the distinction of being the first Australian woman artist elected a member of the Royal Institute of Oil Painters.
Despite physical prowess Coates lacked a strong constitution; when Meeson visited Australia alone in 1913 to accompany an exhibition his health collapsed and she had to return to nurse him in Italy. In 1915 he enlisted in the Territorial Royal Army Medical Corps and served as an orderly at the 3rd London General Hospital, attaining the rank of sergeant. He was discharged in 1919 as physically unfit. While never an official war artist, he produced many portrait commissions for the Australian War Memorial. These included portraits of World War I heroes and a large group portrait of Major General (Sir William) Bridges and his staff in Egypt—on which Coates and Meeson worked after returning to Australia in 1921-22. Coates also painted portraits of Canadian war heroes.
Neither artist responded to developments in art after impressionism and their work remained firmly wedded to strictly representational modes. Primarily a portrait painter, the diffident and unassuming Coates was temperamentally disinclined to challenge accepted assumptions about art despite his admiration for Whistler, Dégas and Puvis de Chavannes. His realism emphasized a harmonious range of low tones and his approach was painstaking and obsessive. While able to handle large-scale works, his best portraits were more intimate such as 'Arthur Walker and his brother Harold' (1912) which reveal a sensitive response to character. Meeson is best known for her many fine impressions of the River Thames, a number of which were acquired after 1945 by the Port of London Authority.
Coates died suddenly in London of a stroke on 27 July 1930. A memorial exhibition of his work was opened in May 1931 at the New Burlington Galleries by Lord Birdwood. His wife continued an active artistic career until her death in London on 24 March 1955. The two were buried together in Rye cemetery.

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Australian and International Photographyview full entry

Reference: Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp
Ref: 57

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Australian and International Photography

Reference: Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Blackwood William p3view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Blackwood William p3

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Bayliss Charles p5view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Bayliss Charles p5

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Caire Nicholas p6view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Caire Nicholas p6

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Nettleton Charles p6view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Nettleton Charles p6

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Lindt J W p7view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Lindt J W p7

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Syer Arthur K p8view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Syer Arthur K p8

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Rowe Alan & Coview full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Rowe Alan & Co

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Bishop Mervyn p10-11view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Bishop Mervyn p10-11

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Carter Jeff p11view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Carter Jeff p11

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Cazneaux Harold p12-13view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Cazneaux Harold p12-13

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Cotter Liz p12view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Cotter Liz p12

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Cotton Olive p13-14view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Cotton Olive p13-14

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Dupain Max p15-17view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Dupain Max p15-17

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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DundasKerry p15view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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DundasKerry p15

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Eaton John B p17view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Eaton John B p17

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Immig John p21view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Immig John p21

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Eaton John B p17view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Eaton John B p17

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Kee Leonard p22view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Kee Leonard p22

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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McFarlane Robert p22view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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McFarlane Robert p22

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Moore David p24view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Moore David p24

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Morely Lewis p25view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Morely Lewis p25

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Ponting Herbert p26view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Ponting Herbert p26

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Rome E G p27view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Rome E G p27

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Shier Spencer p27view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Shier Spencer p27

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Sievers Wolfgang p27-8view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Sievers Wolfgang p27-8

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Smith Robin p26view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Smith Robin p26

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Talbot Henry p30view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Talbot Henry p30

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Yang William p32view full entry

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.
Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Yang William p32

Reference: see Australian and International Photography, Josef Lebovic catalogue, Collectors’ List No. 191. Includes some biographical information on some Australian photographers.

Publishing details: Josef Lebovic Gallery, 2017, pb, 32pp

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Bock Thomasview full entry

Reference: see Presence and Absence: The Play of Race and Aesthetics in the Portraits of Thomas Bock and Benjamin Duterrau, by David Taylor Honours,
University of Tasmania
Publishing details: history in the making vol. 4 no. 2, 2016

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Bock Thomas

Reference: see Presence and Absence: The Play of Race and Aesthetics in the Portraits of Thomas Bock and Benjamin Duterrau, by David Taylor Honours,
University of Tasmania

Publishing details: history in the making vol. 4 no. 2, 2016

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Duterrau Benjaminview full entry

Reference: A Colonial Palimpsest: Benjamin Duterrau’s Portrayals of Aboriginal People, by
Amy Elizabeth Tritton BA/BFA, Submitted in partial fulfilment of the requirements for the Degree of Bachelor of Fine Arts with Honours (Art Theory/Aboriginal Studies)
University of Tasmania October, 2009.

A colonial palimpsest: Benjamin Duterrau's portrayals of Aboriginal people by Tritton, AE (2009) A colonial palimpsest: Benjamin Duterrau's portrayals of Aboriginal people. Honours thesis, University of Tasmania.

Available under University of Tasmania Standard License.
Abstract
This thesis argues for Benjamin Duterrau’s merited place in Australian colonial art history. It examines Duterrau’s depictions of Aborigines, both formally and contextually, seeking to reignite interest in Duterrau’s work and its importance in contemporary society. On a more general level, it is concerned with visual European responses to Aborigines and how those responses may be read by a modern-day audience.
Item Type: Thesis (Honours)
Keywords: Benjamin Duterrau, colonial art, tasmania, australian art history, portraits of aborigines, conciliation, history painting, tasmanian colonial art
Additional Information: © Text 2009 the Author
Date Deposited: 10 Aug 2010 03:29
Last Modified: 18 Nov 2014 04:11
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Publishing details: This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. A hard copy is in the Scheding Library

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Duterrau Benjamin

Reference: A Colonial Palimpsest: Benjamin Duterrau’s Portrayals of Aboriginal People, by
Amy Elizabeth Tritton BA/BFA, Submitted in partial fulfilment of the requirements for the Degree of Bachelor of Fine Arts with Honours (Art Theory/Aboriginal Studies)
University of Tasmania October, 2009.

A colonial palimpsest: Benjamin Duterrau's portrayals of Aboriginal people by Tritton, AE (2009) A colonial palimpsest: Benjamin Duterrau's portrayals of Aboriginal people. Honours thesis, University of Tasmania.

Available under University of Tasmania Standard License.
Abstract
This thesis argues for Benjamin Duterrau’s merited place in Australian colonial art history. It examines Duterrau’s depictions of Aborigines, both formally and contextually, seeking to reignite interest in Duterrau’s work and its importance in contemporary society. On a more general level, it is concerned with visual European responses to Aborigines and how those responses may be read by a modern-day audience.
Item Type: Thesis (Honours)
Keywords: Benjamin Duterrau, colonial art, tasmania, australian art history, portraits of aborigines, conciliation, history painting, tasmanian colonial art
Additional Information: © Text 2009 the Author
Date Deposited: 10 Aug 2010 03:29
Last Modified: 18 Nov 2014 04:11
Repository Staff Only (login required)

Publishing details: This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. A hard copy is in the Scheding Library

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Law Benjamin - bust of G A Robinsonview full entry

Reference: see Gareth Knapman - The Pacificator: discovering the lost bust of George Augustus Robinson

Publishing details: The Latrobe Journal, No 86 December 2010

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Law Benjamin - bust of G A Robinson

Reference: see Gareth Knapman - The Pacificator: discovering the lost bust of George Augustus Robinson

Publishing details: The Latrobe Journal, No 86 December 2010

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Catani Ugoview full entry

Reference: Two-page article in The Sketch newspaper, August 7, 1895, p94-95, including photograph of the artist in his studio.
Publishing details: The Sketch, London, newspaper, August 7, 1895, p94-95, [filed in Scheding Library with large format books]

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Catani Ugo

Reference: Two-page article in The Sketch newspaper, August 7, 1895, p94-95, including photograph of the artist in his studio.

Publishing details: The Sketch, London, newspaper, August 7, 1895, p94-95, [filed in Scheding Library with large format books]

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Woolner Thomasview full entry

Reference: One-page article in The Illustrated London News, October 13, 1892, p 475, with photograph of the artist in his studio.
Publishing details: Illustrated London News, October 13, 1892, p 475, [filed in Scheding Library with large format books]

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Woolner Thomas

Reference: One-page article in The Illustrated London News, October 13, 1892, p 475, with photograph of the artist in his studio.

Publishing details: Illustrated London News, October 13, 1892, p 475, [filed in Scheding Library with large format books]

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Sharp Martinview full entry

Reference: Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.

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Sharp Martin

Reference: Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.

Publishing details: ETT Imprint, 2016. pb, 296pp.

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Slaney Eliza Harrietview full entry

Reference: see Trillium Antique Prints & Rare Books
Ships from Franklin, TN, US, February 2018, exhibition and sale: This one-of-a-kind, original watercolor was part of a natural history watercolor album by Eliza Harriet Slaney and produced circa 1836. The watercolors featured subjects of birds, flowers, & butterflies and moths. The species were from New Holland / Australia, Brazil, Mexico, Cayenne, South America, Africa, and India.

The sheer quantity of watercolors done by Slaney sets her natural history work apart. Also the use of scientific nomenclature and the noted country of origin were important features of her work. Exotic flora and fauna were highly in demand at this time, and well represented in Slaney's work.

Little is known about Eliza Harriet Slaney (1804-1893). She illustrated natural history and country houses. Her use of color and attention to detail made her work exceptional. The Slaney family were part of the natural history elite and knew the Darwins.

It was extraordinarily rare to have natural history art from women artists in this era and before, making this original watercolor more exceptional. Slaney took great care in the depictions and composition. Many of the images feature beautiful gold hilites as well.
Dimensions: Heavy Stock Paper with Image ~ 5 1/4" by 10 1/2"
Artist or Maker: Eliza Harriet Slaney
Medium: Original Watercolor, Many with Gold Hiliting
Date: 1836
Condition Report: The work is excellent condition overall. The images are tipped to a larger sheet of paper which can be removed with no harm to the heavy stock paper the watercolors are on. There may be a occasional fox marks or imperfections to be expected with age.:

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Slaney Eliza Harriet

Reference: see Trillium Antique Prints & Rare Books
Ships from Franklin, TN, US, February 2018, exhibition and sale: This one-of-a-kind, original watercolor was part of a natural history watercolor album by Eliza Harriet Slaney and produced circa 1836. The watercolors featured subjects of birds, flowers, & butterflies and moths. The species were from New Holland / Australia, Brazil, Mexico, Cayenne, South America, Africa, and India.

The sheer quantity of watercolors done by Slaney sets her natural history work apart. Also the use of scientific nomenclature and the noted country of origin were important features of her work. Exotic flora and fauna were highly in demand at this time, and well represented in Slaney's work.

Little is known about Eliza Harriet Slaney (1804-1893). She illustrated natural history and country houses. Her use of color and attention to detail made her work exceptional. The Slaney family were part of the natural history elite and knew the Darwins.

It was extraordinarily rare to have natural history art from women artists in this era and before, making this original watercolor more exceptional. Slaney took great care in the depictions and composition. Many of the images feature beautiful gold hilites as well.
Dimensions: Heavy Stock Paper with Image ~ 5 1/4" by 10 1/2"
Artist or Maker: Eliza Harriet Slaney
Medium: Original Watercolor, Many with Gold Hiliting
Date: 1836
Condition Report: The work is excellent condition overall. The images are tipped to a larger sheet of paper which can be removed with no harm to the heavy stock paper the watercolors are on. There may be a occasional fox marks or imperfections to be expected with age.:

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Outhwaite Ida Rentoulview full entry

Reference: The Road to Fairyland / with illustrations by Ida Rentoul Outhwaite

Publishing details: Angus & Robertson, 1982, 100 p. : ill. (some col.) ; 29 cm. 
Ref: 1000

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Outhwaite Ida Rentoul

Reference: The Road to Fairyland / with illustrations by Ida Rentoul Outhwaite

Publishing details: Angus & Robertson, 1982, 100 p. : ill. (some col.) ; 29 cm. 

Location: 1000

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Outhwaite Ida Rentoulview full entry

Reference: Fairyland by Ida Rentoul Outhwaite (Author),‎ Grenbry Outhwaite (Author),‎ Annie R. Rentoul (Author) [...’Fairyland features the exquisite illustrations of Ida Rentoul Outhwaite, a noted artist of the early 20th century. Outhwaite excelled at the depiction of dainty sprites, and her whimsical visions are highlighted by images of kangaroos, koalas, kookaburras, and other creatures of her native Australia. Her art — with accompanying verses by her sister, Annie R. Rentoul, and stories by her husband, Grenbry Outhwaite — is populated by princesses, witches, pixies, and other folkloric creatures and abounds in timeless charm. This hardcover edition of Outhwaite's most lavish work features dozens of graceful and imaginative illustrations, including nineteen in full color.’]

[’A highly sought-after classic from the last days of the Golden Age of Illustration, superbly reproduced facsimile of the 1929 original. Exquisite and delicate illustrations of Ida Rentoul Outhwaite, who excelled at the depiction of dainty sprites, highlighted by images of kangaroos, koalas, kookaburras, and other creatures of her native Australia. 51 full page plates.
Her art--with accompanying verses by her sister, Annie R. Rentoul, and stories by her husband, Grenbry Outhwaite--is populated by princesses, witches, pixies, and other folkloric creatures and abounds in timeless charm. These have an ethereal, naïve charm similar to the work of Harold Gaze, more nineteenth than 20th century in their style.
This hardcover edition of Outhwaite's most lavish work features 32 graceful and imaginative black and white full page illustrations, plus nineteen plates in full color. This is considered her finest effort, packed with artwork from her prime. By 1929 the market for fancy illustrated books was gone. This, like the similarly anachronistic and deluxe Ship That Sailed To Mars (1925) didn’t sell well, making them today among the rarest books of the period.
Onlaid color cover plate, white embossed titles, endpapers and title page in gold inks. Special introduction.
Australian illustrator Ida Rentoul Outhwaite (1888--1960), best known for her winsome depictions of fairies, collaborated with her husband, Grenbry Outhwaite, on The Enchanted Forest, The Little Fairy Sisters, and Fairyland. Her four children frequently served as models for her illustrations.’]
Publishing details: Calla Editions, Hardcover – April 20, 2016
Ref: 1009

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Outhwaite Ida Rentoul

Reference: Fairyland by Ida Rentoul Outhwaite (Author),‎ Grenbry Outhwaite (Author),‎ Annie R. Rentoul (Author) [...’Fairyland features the exquisite illustrations of Ida Rentoul Outhwaite, a noted artist of the early 20th century. Outhwaite excelled at the depiction of dainty sprites, and her whimsical visions are highlighted by images of kangaroos, koalas, kookaburras, and other creatures of her native Australia. Her art — with accompanying verses by her sister, Annie R. Rentoul, and stories by her husband, Grenbry Outhwaite — is populated by princesses, witches, pixies, and other folkloric creatures and abounds in timeless charm. This hardcover edition of Outhwaite's most lavish work features dozens of graceful and imaginative illustrations, including nineteen in full color.’]

[’A highly sought-after classic from the last days of the Golden Age of Illustration, superbly reproduced facsimile of the 1929 original. Exquisite and delicate illustrations of Ida Rentoul Outhwaite, who excelled at the depiction of dainty sprites, highlighted by images of kangaroos, koalas, kookaburras, and other creatures of her native Australia. 51 full page plates.
Her art--with accompanying verses by her sister, Annie R. Rentoul, and stories by her husband, Grenbry Outhwaite--is populated by princesses, witches, pixies, and other folkloric creatures and abounds in timeless charm. These have an ethereal, naïve charm similar to the work of Harold Gaze, more nineteenth than 20th century in their style.
This hardcover edition of Outhwaite's most lavish work features 32 graceful and imaginative black and white full page illustrations, plus nineteen plates in full color. This is considered her finest effort, packed with artwork from her prime. By 1929 the market for fancy illustrated books was gone. This, like the similarly anachronistic and deluxe Ship That Sailed To Mars (1925) didn’t sell well, making them today among the rarest books of the period.
Onlaid color cover plate, white embossed titles, endpapers and title page in gold inks. Special introduction.
Australian illustrator Ida Rentoul Outhwaite (1888--1960), best known for her winsome depictions of fairies, collaborated with her husband, Grenbry Outhwaite, on The Enchanted Forest, The Little Fairy Sisters, and Fairyland. Her four children frequently served as models for her illustrations.’]

Publishing details: Calla Editions, Hardcover – April 20, 2016

Location: 1009

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Stone Sarah (1760-1844)view full entry

Reference: Sarah Stone (1760-1844)
Known as Sarah Smith or Sarah Stone, she was the daughter of a professional fan painter and worked as a natural history illustrator in England between 1777 and 1820. Like many British artists she never travelled to the Southern Hemisphere, although she is best known for her depictions of Australian subjects.
Stone was commissioned by some of the great eighteenth-century collectors, including Sir Ashton Lever and Sir Joseph Banks, to prepare watercolour drawings based on specimens of animals, birds and objects brought back to England by members of recent voyages of exploration. In many cases her drawings were the first studies of certain natural history species, a fact which makes them of considerable scientific interest. Some of her watercolours recording the collections of artefacts and natural history gathered on the voyages of Captain James Cook are among the treasures of the Australian Museum in Sydney and the Bishop Museum in Honolulu. As Miss Stone, 'Honorary Exhibitor’, she exhibited four paintings at the Royal Academy in 1781 and 1786: two of birds, a peacock and a group of shells. As Mrs Smith, she showed a perspective view of Sir Ashton Lever’s Museum with the London Society of Artists at Leicester House in 1791 – previously exhibited at the Royal Academy in 1785. 
from: Antique Print & Map Room, Shops 7-11,Level 2, Queen Victoria Building, 455 George Street,, Sydney NSW 2000

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Stone Sarah (1760-1844)

Reference: Sarah Stone (1760-1844)
Known as Sarah Smith or Sarah Stone, she was the daughter of a professional fan painter and worked as a natural history illustrator in England between 1777 and 1820. Like many British artists she never travelled to the Southern Hemisphere, although she is best known for her depictions of Australian subjects.
Stone was commissioned by some of the great eighteenth-century collectors, including Sir Ashton Lever and Sir Joseph Banks, to prepare watercolour drawings based on specimens of animals, birds and objects brought back to England by members of recent voyages of exploration. In many cases her drawings were the first studies of certain natural history species, a fact which makes them of considerable scientific interest. Some of her watercolours recording the collections of artefacts and natural history gathered on the voyages of Captain James Cook are among the treasures of the Australian Museum in Sydney and the Bishop Museum in Honolulu. As Miss Stone, 'Honorary Exhibitor’, she exhibited four paintings at the Royal Academy in 1781 and 1786: two of birds, a peacock and a group of shells. As Mrs Smith, she showed a perspective view of Sir Ashton Lever’s Museum with the London Society of Artists at Leicester House in 1791 – previously exhibited at the Royal Academy in 1785. 
from: Antique Print & Map Room, Shops 7-11,Level 2, Queen Victoria Building, 455 George Street,, Sydney NSW 2000

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50+view full entry

Reference: see Fifty plus : half a century of collecting at Muswellbrook Regional Arts Centre / Katrina Rumley. "Published on the occasion of the 50th anniversary of the Muswellbrook Art Prize and in conjunction with the exhibition '50 years of Muswellbrook Shire Collection 1958-2008' ... held at the Muswellbrook Regional Arts Centre, Muswellbrook, Australia, 22 August-5 October 2008."
Bibliography: p. 122-123. Commentaries on artworks included with some biographical information on the artists.

Publishing details: Muswellbrook, N.S.W. : Muswellbrook Regional Arts Centre, 2008 
127 p. : ill. (chiefly col.)

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50+

Reference: see Fifty plus : half a century of collecting at Muswellbrook Regional Arts Centre / Katrina Rumley. "Published on the occasion of the 50th anniversary of the Muswellbrook Art Prize and in conjunction with the exhibition '50 years of Muswellbrook Shire Collection 1958-2008' ... held at the Muswellbrook Regional Arts Centre, Muswellbrook, Australia, 22 August-5 October 2008."
Bibliography: p. 122-123. Commentaries on artworks included with some biographical information on the artists.

Publishing details: Muswellbrook, N.S.W. : Muswellbrook Regional Arts Centre, 2008 
127 p. : ill. (chiefly col.)

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Muswellbrook Regional Arts Centreview full entry

Reference: see Fifty plus : half a century of collecting at Muswellbrook Regional Arts Centre / Katrina Rumley. "Published on the occasion of the 50th anniversary of the Muswellbrook Art Prize and in conjunction with the exhibition '50 years of Muswellbrook Shire Collection 1958-2008' ... held at the Muswellbrook Regional Arts Centre, Muswellbrook, Australia, 22 August-5 October 2008."
Bibliography: p. 122-123. Commentaries on artworks included with some biographical information on the artists.

Publishing details: Muswellbrook, N.S.W. : Muswellbrook Regional Arts Centre, 2008 
127 p. : ill. (chiefly col.)

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Muswellbrook Regional Arts Centre

Reference: see Fifty plus : half a century of collecting at Muswellbrook Regional Arts Centre / Katrina Rumley. "Published on the occasion of the 50th anniversary of the Muswellbrook Art Prize and in conjunction with the exhibition '50 years of Muswellbrook Shire Collection 1958-2008' ... held at the Muswellbrook Regional Arts Centre, Muswellbrook, Australia, 22 August-5 October 2008."
Bibliography: p. 122-123. Commentaries on artworks included with some biographical information on the artists.

Publishing details: Muswellbrook, N.S.W. : Muswellbrook Regional Arts Centre, 2008 
127 p. : ill. (chiefly col.)

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Abrahams Louisview full entry

Reference: see Australian Artists Today - Third Edition. Includes essay ‘Australian artists today’ by Lance Mitchell. Lists biographical information on about 350 ‘realist’ artists. With 106 illustrations. With index and bibliography
Publishing details: Graham Norris, 1984, 331 pp, hc.

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Abrahams Louis

Reference: see Australian Artists Today - Third Edition. Includes essay ‘Australian artists today’ by Lance Mitchell. Lists biographical information on about 350 ‘realist’ artists. With 106 illustrations. With index and bibliography

Publishing details: Graham Norris, 1984, 331 pp, hc.

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women artistsview full entry

Reference: see A dictionary of women artists of Australia, by Max Germaine with foreword by Anne von Bertouch. Provides biographical entries on over 2000 Australian women artists.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
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women artists

Reference: see A dictionary of women artists of Australia, by Max Germaine with foreword by Anne von Bertouch. Provides biographical entries on over 2000 Australian women artists.

Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.

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Aitken-Kuhnen Helenview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Aitken-Kuhnen Helen

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Alison Ryan Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Alison Ryan Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Armorial Bearingsview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Armorial Bearings

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Australian Girls Own Galleryview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Australian Girls Own Gallery

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Binns Vivienne view full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Binns Vivienne

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Bot G Wview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Bot G W

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Boynes Robertview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Boynes Robert

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Brown Janview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Brown Jan

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Brown J Gview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Brown J G

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Buchanan Megview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Buchanan Meg

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Canberra & District Historical Society Collection view full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Canberra & District Historical Society Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Canberra Lithuanian Community Association Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Canberra Lithuanian Community Association Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Canberra Times Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Canberra Times Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Capitol Theatre Manukaview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Capitol Theatre Manuka

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Chaseling Scottview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Chaseling Scott

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Cinema Collections view full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Cinema Collections

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Commercial Business Collections view full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Commercial Business Collections

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Dabro Anteview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Dabro Ante

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Daly Gregview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Daly Greg

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Davis McKay Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Davis McKay Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Dawn Waterhouse Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Dawn Waterhouse Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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De Salis Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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De Salis Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Deboos Janetview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Deboos Janet

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Dundas Douglasview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Dundas Douglas

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Duntroon Dairy Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Duntroon Dairy Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Eaton Janenne view full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Eaton Janenne

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Eggert Annaview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Eggert Anna

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Electric Shadows/Boulevard Twinview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Electric Shadows/Boulevard Twin

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Ferris Deniseview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Ferris Denise

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Foster Robertview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Foster Robert

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Foxhill Georgeview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Foxhill George

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Gascoigne Rosalieview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Gascoigne Rosalie

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Geier Helenview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Geier Helen

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Genges Garage view full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Genges Garage

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Governance Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Governance Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Grey Papersview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Grey Papers

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Gruner Eliothview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Gruner Elioth

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Hagerty Marieview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Hagerty Marie

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Helen Maxwell Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Helen Maxwell Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Herel Petrview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Herel Petr

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Hinder Frankview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Hinder Frank

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Hotel Canberra Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Hotel Canberra Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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House Matilda view full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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House Matilda

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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Ingham Georgeview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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Ingham George

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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January 2003 Firestorm Collectionview full entry

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.
Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.
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January 2003 Firestorm Collection

Reference: see Reflections - Selected works from the Canberra Museum and Gallery Collection. Contributing writers, Peter Haynes ... [et al]. Includes short essays on selected individual artists whose work is in the collection as well as information about the various collections that have entered the CMG Collection.

Publishing details: Canberra Museum and Gallery, c2008 
x, 85 p. : col. ill. Includes index.

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