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The Scheding Index of Australian Art & Artists

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Showing 158,205 records of 158,205 total. We are displaying one thousand.

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Walden Teifiview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Connieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Deborahview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Edith Jeanview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Gwenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Heatherview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Janeview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Krystenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Linda Marieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Rebecca Driffieldview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walker Ronaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wallace Margaretview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Waller Lornaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Waller Ruthview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Waller Vickiview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walter Coletteview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walters Carolview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walters Kathview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walter Rhondda Mareeview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Walwicz Aniaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wanjidari Leanne Reidview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wann Valmaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wanstall Mignonview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Warburton Toniview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Ward Billi view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Ward Karen Leeview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Ward Virginiaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Ware Silver Leyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Warne Judithview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Warner Melanieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Warren Freda view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wason Coralieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Waterman Marieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Waters Ericaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Watkins Julieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Watson Jennyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Watson Judyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Watts Kayview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Watts Maureenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Webb Hilda Namoiview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Webb Lovoniview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Webb Philippaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Webber Dianaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Webster Joanview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weedon Laniview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weeks Judyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weeks Marie A view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wege Janeview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weinberg Aileenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weinberg Lilianview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weinfeld Sonyaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weiss Johannaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weiss Rosemaryview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Weiszmann Cathyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wende Esther view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wenzel Valerieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
West Frances view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
White Bernice view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
White Fionaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
White Judith view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
White Lorraine view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
White Sheila view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
White Susan Dorothea view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Whitehead Cateview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Whitehead Rhondaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Whitehead-Griffiths Dorothyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Whitehurst Bessview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Whiteford Wendyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Whiting Lorraineview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Whitlock Judy Rview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Whittam Sheilaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wienholt Anneview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wight Normanaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wild Joanneview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wildman Narelleview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wilkie Sueview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Willcox Scampview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Annview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Carolineview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Elizabethview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Hazel Vernaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Kay Breedenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Lizview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Maryview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Robynview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Wilmotteview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williamson Shirleyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Willis Anneview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Willis Georginaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wills Judithview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wills Margaretview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wilson Audreyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wilson Caroleview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wilson Heather view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wilson Lynette view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wilson Margaret view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wilson Patricia view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wiltshire Helenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Winch Madeleineview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Winkler Violaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Winters Lynnview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wishney Dorothyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wojak Annaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wood Suzieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woodcock Roseview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woodford Amandaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woodford-Ganf Rosemaryview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woodger-Grant Lynview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woods Juneview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woods Maeveview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woods Pauline Nakamarraview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woodward Margaretview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woolcock Marjorieview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woollard Margaret Heleneview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woollett Beverleyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Woolley Frances Sview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wortelhock Samanthaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Worth Georginaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Worth Margaret Gview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wragg Pamelaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wreford Elaineview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wright Helenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wright Judithview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wright Mary-Anneview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wrobel Edwina view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wubukwubug Claraview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wurfel Anna-Roseview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wyatt Susan Roseview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wyers Susanview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wynn Tomonoview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Wynn-Moylan Karenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Yajaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Yates Jillview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Young Christine Mareeview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Young Deborahview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Young Jenni Mary view 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Young Jennyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Young Juneview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Younger Jayview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Younger Jillview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zahalka Anneview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zakarauskas Aldonaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zandberg Annaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zanetti Margaret Rintoulview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zannella Annaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zappala Ivyview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zarins Dagnijaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zelazne Helenview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zerbini Barbaraview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zerner Kerryview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Zilles Laurettaview 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 artist Jackys.
Publishing details: Craftsman House, c1991, xiii, 486 p., [16] p. of plates : col. ill.
Williams Fred 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.)
Lynn Elwynview 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.)
Salkauskas Henry 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.)
Grey-Smith Guyview 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.)
Watters Max 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.)
Nivison Angus 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.)
Taylor Michael 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.)
Clifford James 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.)
Peascod William 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.)
Davis John 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.)
Borgelt Marion 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.)
Frank Dale 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.)
Orban Desiderius 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.)
Smith Eric 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.)
Shore Arnold 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.)
Lewers Margot 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.)
Perceval John 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.)
Kay Hanna 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.)
Strachan David 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.)
Barnes Robert 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.)
Daly Greg 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.)
Taylor Ray 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.)
Blackman Charles 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.)
Dickerson Robert 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.)
Whiteley Brett 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.)
Bell Michael 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.)
Shaw Allen Michael 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.)
Macleod Euan 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.)
Vassilieff Danila 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.)
Taylor Peter 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.)
Zulumovski Vera 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.)
Shannon Michael 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.)
James Louis 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.)
Lander Jane 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.)
Wicks Arthur 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.)
Fluke Roy 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.)
Maddock Bea 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.)
Jordan Col 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.)
Leach-Jones Alun 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.)
Ball Sydney 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.)
Aspden David 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.)
Earle Stephen 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.)
Harpur Royston 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.)
Gleghorn Thomas 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.)
Hawkins Weaver 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.)
Richmond Oliffe 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.)
Peart John 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.)
Rankin David 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.)
Larter Richard 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.)
Tuckson Tony 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.)
Armstrong John 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.)
Danko Aleksander 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.)
Jenyns Bob 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.)
Jenyns Lorraine 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.)
Coleing Tony 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.)
Lanceley Colin 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.)
Brown Mike 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.)
Varvaressos Vicki 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.)
Blandford Charles 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.)
Tilley Lezlie 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.)
Tilley Peter 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.)
Plapp Jon 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.)
Tillers Imants 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.)
Parr Mike 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.)
O Malley Glenn 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.)
Breninger Warren 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.)
Skinner Roger 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.)
Munce Kelly 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.)
Spowart Doug 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.)
Cooper Victoria 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.)
Absalom Jackview 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.
Agotai Liz view 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.
Ames Allanview 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.
Andrews Alex Grahameview 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.
Angus Johnview 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.
Angus Max Rupertview 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.
Annand Douglasview 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.
Annois Leonard Lloydview 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.
Armfield David Edwardview 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.
Armstrong Ianview 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.
Ashton Julian Howardview 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.
Ashton Julian Rossiview 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.
Ashton Will view 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.
Atyeo Samview 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.
Auld James Muirview 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.
Bacon Alanview 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.
Baker Alan Douglasview 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.
Baker Dorothyview 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.
Baker Garyview 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.
Bale Alice Marion Ellenview 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.
Ballard Kathlyn Margaretview 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.
Ballard Stanleyview 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.
Balmain John view 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.
Balmain Van view 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.
Barret Clarkview 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.
Barringer Gwendolineview 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.
Bartley Johnview 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.
Bates Bruce McMillanview 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.
Battarbee Rex Eview 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.
Baxter Evelynview 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.
Beasley-Southgate Barbara Annview 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.
Beavan Williamview 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.
Bell George Henry Frederickview 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.
Bell Heather Aview 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.
Bell Josephview 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.
Bennett William Ruberyview 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.
Bernaldo Allan Thomasview 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.
Bey Reshidview 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.
Billich Charlesview 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.
Bisenieks Ojars Alexanderview 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.
Blackie Kayview 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.
Blackman Charlesview 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.
Bock Charlesview 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.
Bogusz Richardview 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.
Bolwell Gillianview 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.
Bonham Gayeview 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.
Boothroyd Arthurview 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.
Borrack John Leoview 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.
Bossence Anneview 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.
Bourne Shirleyview 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.
Boxall Arthur d Auvergenview 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.
Boyd Arthur Merric Bloomfieldview 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.
Boyd Davidview 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.
Boyd Robert Maxview 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.
Boyd Theodore Penleighview 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.
Brack Cecil Johnview 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.
Brackenreg Johnview 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.
Brooke Georgeview 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.
Brooks Gilview 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.
Brownlie Judith Lorraineview 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.
Buckmaster Ernestview 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.
Bull Normaview 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.
Bull Ronald Elliotview 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.
Bunny Rupert Charles Wolstenview 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.
Burge Elaineview 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.
Burrage Reginald Bruceview 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.
Bush Charles Williamview 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.
Buvelot Abram 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.
Byard David Bruceview 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.
Byrne Samuelview 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.
Cameron Donald James Grayview 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.
Campbell Leslie Alfredview 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.
Campbell Richardview 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.
Campbell Robert Richmondview 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.
Canning Ernest Johnview 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.
Carter Frankview 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.
Casey Maxwell Edwardview 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.
Chandler Colinview 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.
Clements Allanview 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.
Cobb Victor Emmanuelview 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.
Coleman Alfredview 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.
Coleville George Gardenview 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.
Conder Charlesview 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.
Cook E Wakeview 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.
Cook William Delafield view 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.
Cook William Delafield llview 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.
Cornwell Johnview 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.
Counihan Noel Jackview 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.
Cress Frederickview 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.
Crooke Ray Austinview 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.
Cullen Frankview 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.
Cumbrae-Stewart Janet Agnesview 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.
Curry Warrenview 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.
Curtis J Wview 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.
Dade Freyaview 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.
Dargie Sir William Alexanderview 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.
Darken Vickiview 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.
Daws Lawrenceview 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.
Davis Geoffreyview 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.
de Leuil Paul 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.
de Maistre Leroy Leveson Laurent Josephview 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.
Dickerson Robertview 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.
Dilger Stellaview 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.
Diston J Swintonview 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.
Dobell Sir Williamview 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.
Dolinska Pamview 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.
Dollery Johnview 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.
Douglas Neilview 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.
Downton Johnview 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.
Doyle Robertview 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.
Drew Dudley Josephview 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.
Dridan David Clydeview 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.
Drysdale George Russellview 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.
Dunne Peter Johnview 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.
Durack Elizabethview 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.
Dyson William Henryview 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.
Ebaterinja Walterview 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.
Egan Jamesview 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.
Eldershaw John Royview 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.
Elliot Ricview 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.
Ellis Williamview 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.
Envy Ericview 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.
Fairweather Ianview 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.
Farnington Pegview 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.
Farrell Jamesview 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.
Fehring Hildaview 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.
Feint Adrianview 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.
Firth John Duncanview 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.
Fitzgerald Paulview 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.
Fitzgerald-Boyle Margeryview 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.
Fizelle Rahview 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.
Fizzell Allanview 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.
Fleming Erisview 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.
Fletcher Bruceview 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.
Fox Emmanuel Phillipsview 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.
Fox Ethel view 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.
Frank 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.
Frater Williamview 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.
French Leonardview 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.
Friend Donald Stuart Leslieview 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.
Frydrych Charles view 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.
Fullbrook Samuel Sydneyview 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.
Fuller Warwickview 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.
Fullwood Albert Henryview 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.
Garde Owen Jview 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.
Garrett Thomas Balfourview 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.
Gentile Giulio Salvatoreview 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.
Ghee G Taylorview 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.
Giles Patriciaview 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.
Gill Naylorview 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.
Gill Samuel Thomasview 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.
Gilmour Malview 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.
Glass Peterview 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.
Gleeson James Timothyview 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.
Glover Johnview 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.
Glover John Hview 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.
Goldberg Suzanneview 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.
Golding William Francisview 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.
Gould Johnview 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.
Gorman Lynne Melladyview 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.
Graham Anneview 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.
Gray Alastair Cameronview 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.
Green Sueview 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.
Grieve Alan Robert Colquhounview 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.
Griffin Ambrose Sylvesterview 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.
Griffiths Harleyview 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.
Grosvenor Alan Cliveview 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.
Gruner Eliothview 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.
Gude Nornieview 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.
Guth Henkview 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.
Guthrie Berylview 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.
Guthrie Hughview 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.
Hall Lindsay Bernardview 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.
Hamblin Arthurview 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.
Hannagan Mauriceview 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.
Hansell Gregview 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.
Harcourt Clewin Simon Vernonview 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.
Harding Frankview 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.
Hart Proview 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.
Hawley Grahamview 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.
Hays Bettview 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.
Heffernan Edwardview 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.
Hele Ivorview 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.
Hellier Dermontview 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.
Henderson Jillview 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.
Henshaw Judyview 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.
Herbert Harold Brocklebankview 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.
Heritage Rosamondview 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.
Herman Saliview 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.
Herzog Richardview 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.
Heysen Hansview 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.
Heysen Noraview 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.
Hilder Jessie Jewhurstview 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.
Hingerty Johnview 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.
Hope Ronald Edwardview 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.
Humphrey Shirley Moyleview 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.
Hunt Deidre Lynetteview 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.
Hutchison Ritaview 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.
Jack Kennethview 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.
Jackson Carlyle view 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.
Jackson Elizabeth view 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.
Jackson James Ranalph view 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.
Jaksic-Berger Mimiview 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.
Jansons Andrisview 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.
Jansons Colin Richardview 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.
Joseph Fayeview 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.
Jungwirth Bettyview 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.
Kahan 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.
Kalbitzer Hans Guntherview 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.
Kennedy Theresa Francesview 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.
Kirmond Laurenceview 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.
Kett Norma Dorothyview 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.
Kilvington Patrickview 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.
Klix Fredview 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.
Knott Laurieview 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.
Kortland Wimview 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.
Kuster Jngo Ottoview 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.
Lambert George Washingtonview 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.
Lawson Bernard Johnview 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.
Limpens Bertview 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.
Lindsay Darylview 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.
Lindsay Lionelview 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.
Lindsay Norman Alfred Williamview 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.
Lindsay Percyview 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.
Lindsley-De-Gray Darthea Louiseview 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.
Lister Lister Williamview 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.
Lloyd C Salisview 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.
Long Leonardview 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.
Long Sydneyview 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.
Longstaff Johnview 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.
Lovett Robert Johnview 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.
Loxton Johnview 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.
Lukacs Leslieview 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.
Luton Philip Alanview 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.
Lycett Josephview 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.
Lymburner Francisview 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.
MacNally Matthew Jamesview 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.
Madden Juneview 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.
Madden Robertview 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.
Magilton Walterview 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.
Mannix Maxwell Vincent view 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.
Marsh Daleview 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.
Martens Conradview 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.
Mather Sydneyview 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.
McCann Richard Matthewview 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.
McClintock Alexander view 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.
McCubbin Frederickview 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.
McNeill Lanceview 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.
Mednis Karlisview 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.
Meldrum Duncan Maxview 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.
Menpes Mortimerview 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.
Middleton Maxview 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.
Miller Robert Thomasview 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.
Milton Carole Louise view 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.
Minchin Ericview 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.
Minchin Roxanneview 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.
Minns Benjamin Edwardview 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.
Missingham Halview 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.
Mitchell William Kennedyview 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.
Molvig Jonview 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.
Montgomery Jackview 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.
Moore David Quentinview 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.
Moore Graham Hintonview 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.
Murch Arthur Jamesview 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.
Mutsaers Frankview 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.
Namatjira Albertview 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.
Neill Mary Elizabethview 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.
Nerli Girolamo Ballattiview 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.
Newbury Albert Ernestview 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.
Newman Anitaview 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.
Newman Patrickview 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.
Nolan Sydneyview 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.
Offord Thomas Frankview 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.
O’Harris Pixieview 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.
O’Shea Williamview 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.
Parker Colin Ross view 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.
Parker Colleen view 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.
Paterson Bettyview 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.
Peake Barbara Joyceview 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.
Penberthy Wesleyview 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.
Perceval Johnview 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.
Perrett Shirley view 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.
Phillis Stephenview 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.
Pickup Johnview 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.
Piggott Owenview 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.
Piguenit William Charlesview 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.
Plant Joyceview 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.
Pointon Johnview 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.
Pope Robert Davidview 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.
Power Harold Septimusview 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.
Pratt Douglas view 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.
Price Janetview 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.
Prior Elizabethview 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.
Prout John Skinnerview 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.
Pugh Clifton Ernestview 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.
Purvis Ianview 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.
Ragless Maxwell Richard Christopherview 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.
Ramsay Stephenview 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.
Rees Lloyd Fredericview 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.
Reschky Maureen Joyview 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.
Robbins Jackview 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.
Roberts Tomview 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.
Rolando Charles view 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.
Rowe Reginaldview 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.
Rowell John Thomas Nightingaleview 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.
Rowland Louiseview 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.
Russell John Peterview 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.
Salter Ernestview 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.
Sandler Johnview 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.
Sands Leslieview 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.
Sartori Alanview 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.
Scheltema Jan Henrikview 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.
Schubert Robin Elizabethview 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.
Schultz Leonardview 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.
Schulz Hugh Robertview 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.
Serle John Geraldview 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.
Sewell Dorca Charles view 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.
Shearer Josephview 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.
Sherman Albertview 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.
Shirvington Patrickview 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.
Silckerodt Benview 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.
Sinclair Clive Robertview 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.
Skate Ronald Claytonview 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.
Skultety Juneview 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.
Smales Peterview 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.
Smith Grace Cossingtonview 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.
Smith Robert Peterview 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.
Smyth Dacreview 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.
Solomon Lanceview 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.
Sparks Geoffreyview 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.
Stephens Gladysview 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.
Stephens Ian Nevilleview 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.
Stewart Pauline Marieview 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.
Streeton Arthur Ernestview 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.
Strutt Williamview 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.
Stubbs Douglasview 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.
Sturgess Reginald Wardview 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.
Sugden Robertview 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.
Sullivan Lance Johnview 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.
Szarukan Elizaview 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.
Taber Kennethview 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.
Taylor Robert Paulview 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.
Tiplady Johnview 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.
Trappe Paulview 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.
Traynor John Douglasview 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.
Trebilcott George Alanview 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.
Trembath Ernest Alfredview 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.
Tucker Albertview 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.
Ulmann Robertview 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.
van Nieuwmans Carlview 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.
Vassilieff Danilaview 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.
Vaughan Elspethview 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.
Vaughan Margotview 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.
Veal Haywardview 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.
Vertes Annaview 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.
Vogel Ernestview 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.
Waddingham Colin Stuartview 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.
Wade Robert Albertview 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.
Wakelin Roland Shakespeareview 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.
Walton Valerie Margaretview 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.
Waterhouse Phylview 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.
Waters Maynardview 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.
Weeks Marieview 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.
Westgate Noelview 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.
Wheeler Charles Arthurview 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.
Williams Fredview 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.
Withers Walterview 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.
Wood C Dudleyview 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.
Young Johnview 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.
Young William Blamireview 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.
Zelman Victorview 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.
Zusters Reinisview 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.
Elischer Johnview full entry
Reference: see AUKTIONSHAUS WENDL, Germany, 26-28 October, 2017, lot 839: Elischer, Johann W .: Fool in the dialogue with a mouse. Bronze patinated. A fool, sitting on the floor, looks excitedly at the mouse at the tip of his shoe, which has stood up to him. H, 18.5 cm. Austrian sculptor (1891 Vienna - 1966 Richmond / Australia), studied at the Academy of Vienna, and at Rodin in Paris. From 1935 working in Australia.
Kahler Carlview full entry
Reference: see Les Antiquites Maison auction, NY, lot 61043, 25.11.17: Madison Ave.
New York, NY.

‘Carl Kahler born 1855 was a well-traveled artist. He was born in Linz Austria and traveled to Berlin, Dresden, Munich, Vienna, Australia and having a studio in NYC in 1891 where he was a was a New York society favorite for his pet portraits. Kahler also came to San Francisco in and opened a studio there. Kahler would paint portraits of people and pets. He was well known for his cat paintings. He was an “erratic genius” who would destroy his paintings or leave them unfinished if he lost interest. Later he moved to NYC in the 1920s. Exhibited; Berlin, Germany 1880 and Dresden, Munich and Vienna Austria. Also exhibited in Philadelphia in 1921 at the Academy of Fine Arts. Member; Society of Independent Artists.
Carl Kahler is listed in the following art reference books: Hughes', Artists in California (V3); Falk's, Who Was Who in American Art; Fielding’s, Dictionary of American Painters, Sculptors & Engravers; Davenports, Art Reference and Price
Convicts and the Artsview full entry
Reference: Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
King Henryview full entry
Reference: see Nosbüsch & Stucke GmbH auction,
February 24, 2018, Berlin, Germany, Lot 851: Australien - Photoalbum mit 38 frühen großformatigen Ansichten von Sydney. Photo album with 38 early views of Sydney and surroundings, Australia, 1880s. Green full leather album (25.4 x 31.5 cm) with gilt-tooling and gilt-stamped inscription "Sydney 8th Nov., 1888" on front cover. With 38 vintage albumen prints (each c. 15 x 20.5 cm), each with title and photographer's name "Henry King, Sydn." in the negative. A comprehensive album of Sydney and its surroundings, including numerous impressive views of the city and its harbour as well as landscapes and nature views. The album is slightly rubbed. At start and end the images show some foxing and soiling, some images with slight fading in edges, otherwise most in very good condition.
Publishing details: 1888
Prickett Dorothy (nee Davis) (Exh. 1905-1940) view full entry
Reference: see LAIDLAW AUCTIONEERS & VALUERS, 24 February, 2018, lot 571: Dorothy Prickett (nee Davis) (Exh. 1905-1940)
Study of trees, watercolour, framed and mounted under glass, 37 x 27 cm
Dorothy Pricket studied under Sir Arthur Cope, son of Sir Charles West Cope, and the Chelsea Polytechnic. She spent time in Australia between 1890 and 1905, before returning to the UK and continuing to paint. Between 1905 and 1940 her works were exhibited at Arlington Gallery (73 works) Royal Society of British Artists (2 works) Society of Women Artists (4 works) and Walkers Gallery (78 works)
Creer Deirdre Henty (1928-2012) view full entry
Reference: SEE John Nicholson Auctioneers 28.2.18, LOT 290: Deirdre Henty-Creer (1928-2012) Australian/British. A Study of London Mews Houses, Oil on Unstretched Canvas, Signed and Dated /40, 22.5" x 20".

and at John Nicholson Auctioneers on 17 July, 2020, lot 351, Deirdre Henty-Creer (1918-2012) Australian/British. A Scene of Figures Repairing Army Uniform, Oil on Canvas, Signed and Dated '42, 24" x 30".
Collard Anna Sarah Rachel nee Wauchview full entry
Reference: See Davidsons auction: 420. COLLARD (NEE WAUCH), ANNA SARAH RACHEL (1828-1904)

Riders Resting, 1853. Colonial boundary riders at a river, considered to be in the Port Macquarie area. Signed 'A S R Collard 1853,' lower right (name & date runs under mount). Anna Collard was a talented horse painter, with biographies online.
W/Clr
Lot Number: 420
Sale date: 25-Feb-18
Wauch Anna Sarah Rachelview full entry
Reference: See Davidsons auction: 420. COLLARD (NEE WAUCH), ANNA SARAH RACHEL (1828-1904)

Riders Resting, 1853. Colonial boundary riders at a river, considered to be in the Port Macquarie area. Signed 'A S R Collard 1853,' lower right (name & date runs under mount). Anna Collard was a talented horse painter, with biographies online.
W/Clr
Lot Number: 420
Sale date: 25-Feb-18
Convict art view full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Stonemasons in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Sculptors in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Architetcts in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Engravers in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Love Tokens in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Tattoos in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Breastplates in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Silversmiths in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Scrimshaw etc in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Currency in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Weaving in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Clay Pipes in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Graffiti in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Glaziers in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Cartoons in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Potters in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Jewellery in Colonial Australiaview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Art of the Convictsview full entry
Reference: Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
convict artview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other published sources,.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
colonial artview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other published sources,.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Wainewright Thomas Griffithsview full entry
Reference: The prince of poisoners, byLadbroke Lionel Day Black [Fiction] Subjects: Wainwright, Thomas Griffiths, -- 1794-1852 -- Fiction.
Publishing details: Publisher: London, I. Nicholson & Watson, 1932.


Ref: 1000
Wainewright Thomas Griffithsview full entry
Reference: Portrait of a gentleman (Thomas Griffiths Wainewright) 1794-1852 [manuscript] : a radio play / by George Farwell.
Publishing details: The Hanger Collection of Australian Playscripts.
Stamped "A.B.C. Productions Dept., Melbourne" & "From ABC Archives microfilm"; mss. note on t.p. of original; mss. comment on photocopy; signature of L. Rees on original.
Typescript (microfilm).Radio play. One act.
Ref: 1000
Wainewright Thomas Griffithsview full entry
Reference: Suburban gentleman : the life of Thomas Griffiths Wainewright, poet, painter, and poisoner / by John Lindsey [’Probably no murderer ever lived such a remarkable life as did Thomas Griffiths Wainewright. Wainewright was gifted with talents which, in another man, would have enabled him to make a fortune. He was an artist who was thought good enough to paint a portrait of Lord Byron. But he never worked seriously at his art until he became a convict. He was an author whose writings were as popular as those of Lamb and Hazlitt. But he scorned to earn a living by his pen. He became a soldier, but tired of that life, while, from the day he entered smart society to that day when he had to flee the country, he spent money and obtained credit at the rate of thousands a year. Too "gentlemanly" to earn money, he turned to crime. He commenced as a forger. When forgery was no longer profitable, he adopted murder. Illus. 127pp. 8vo. h/back.’]
Publishing details: London ; Melbourne : Rich & Cowan, 1942 
127 p., [12] p. of plates : ill., ports. ; 22 cm. 
Wainewright Thomas Griffithsview full entry
Reference: Thomas Griffiths Wainewright by C. McLaurin
Publishing details: ? [book cited in ‘Art of the Convicts by Howell].
Ref: 1000
Jones Locust view full entry
Reference: Jones, Locust. Catalog of an exhibition held from 3 to 27 February 2010.
Publishing details: Richmond, Vic. : Karen Woodbury Gallery, 2010 
1 folded sheet [8] p. : col. ill. ; 21 cm. 

Ref: 1000
Jones Locust view full entry
Reference: HEAR NO EVIL / SEE NO EVIL - LOCUST JONES, 13 Jan 2018 - 18 Mar 2018 | 9.00am - 4.30pm

[’Established Blue Mountains artist Locust Jones works in his studio listening to the news transcribing the horrors of humanity into his paintings. He juxtaposes the everyday onslaught of atrocities with the absurdity of popular culture news. This exhibition of works on paper features many straight from the artist’s studio or not previously exhibited in Australia.
Hear No Evil/See No Evil reframes Jones’ well known practice through the lens of the viewer experience. We are invited to participate in the unravelling of reason in our over-populated media where Tehran riots and Michael Jackson’s heart attack receive equal news time. Rather than critiquing the media itself the exhibition questions how we make sense, understand and prioritise the overwhelming import of world news. With so much competing information is it possible to even hear, see or feel the atrocities that go on around the world?’] Curated by Lizzy Marshall

Publishing details: Exhibition launch: Saturday, 13 January 2018 | 2-4pm. Catalogue?
Ref: 1000
Jones Locust view full entry
Reference: Locust Jones - subterranean output. Five Years of Drawings 2010-2015.
Publishing details: 2018?
Ref: 1000
Yang Williamview full entry
Reference: William Yang - Stories of Love and Death, by Helena Grehan and Edward Scheer. [’Acclaimed photographer William Yang has captured the zeitgeist like no-one else, providing a very personal insight into the evolution of Mardi Gras, the spectre of AIDS, Sydney's theatrical and social scenes, and changing notions of 'belonging' in multicultural Australia. In this ground breaking book, featuring 100 images from William Yang's personal archive, Helena Grehan and Edward Scheer explore Yang's self-portraiture across photography, performance and documentary. William Yang: Stories of love and death considers the ways in which Yang's constantly evolving art captures the enduring power of family, friendship and connection.’]
Publishing details: NewSouth Publishing, 2016 
©2016 
191 pages : illustrations (some colour), portraits (some colour)
Ref: 1000
Heery Garyview full entry
Reference: Bird. [’A series of portraits of birds. To capture the birds in motion Heery erected a translucent tent, creating an intimate and contained environment in which the birds could fly. “I treated it, not unlike any other portraiture situation, as a kind of controlled spontaneity,” he says. The end result is a collection of dynamic, yet almost clinically detailed, images, with each bird’s distinct personality captured in all its glory.
Notes Text: Keith Aberdein. Design: Paul Clark & Tim Kliendiest, Alphabet Studio.’]
Publishing details: Gary Heery, 2015 
167 pages : chiefly colour illustrations
Ref: 1000
Namatjira Albertview full entry
Reference: Namatjira by Scott Rankin.
Notes "Created with the Namatjira family"

Publishing details: Strawberry Hills, NSW : Currency Press, 2011 
© 2011 
40 pages ; 20 cm. 

Ref: 1000
Namatjira Albertview full entry
Reference: Albert Namatjira - Gordon and Marilyn Darlin’s Gift to the Nationg. [’A bruised ridge of hills. A scrub-mottled plain. Ghost gums framing a wash of sky ...

Pioneering Aboriginal watercolourist Albert Namatjira’s landscape paintings are synonymous with our perception of the Australian outback. But these luminous landscapes also expressed Namatjira’s deep connection with the Western Arrarnta Country for which he was a traditional custodian.

This is the first publication of Namatjira’s work since the copyright was returned to his descendants, and celebrates the legacy of this important artist through a selection of his evocative watercolours from the NGA’s world-renowned collection.’]
 


Publishing details: National Gallery of Australia, 2018,
Hardcover

Ref: 1009
Hobson Naomiview full entry
Reference: see Conversations with Creative Women, Volume Three. By Tess McCabe.
Publishing details: ? Three volumes in all, each outlining the lives of between 16 - 19 women
Conversations with Creative Women, view full entry
Reference: Conversations with Creative Women, Three Volumes. By Tess McCabe.
Publishing details: Three volumes in all, each outlining the lives of between 16 - 19 women [c2011-14]
Ref: 1000
McKenna Noelview full entry
Reference: Noel McKenna : landscape - mapped / texts by Graeme Simsion, Peter McKay and Noel McKenna ; artworks by Noel McKenna
Publishing details: Queensland Art Gallery | Gallery of Modern Art, 2017 
pages 
ISBN 9781921503887 (hardback)
Notes Includes bibliographical references.
Ref: 1000
Captain Cook and the Pacificview full entry
Reference: Captain Cook and the Pacific : art, exploration & empire / John McAleer and Nigel Rigby. [’British Royal Navy Captain James Cook's voyages of exploration across and around the Pacific Ocean were a marvel of maritime achievement, and provided the first accurate map of the Pacific. The expeditions answered key scientific, economic, and geographic questions, and inspired some of the most influential images of the Pacific made by Europeans. Now readers can immerse themselves in the adventure through the collections of London's National Maritime Museum, which illuminate every aspect of the voyages: oil paintings of lush landscapes, scientific and navigational instruments, ship plans, globes, charts and maps, rare books and manuscripts, coins and medals, ethnographic material, and personal effects. Each artifact holds a story that sheds light on Captain Cook, the crews he commanded, and the effort's impact on world history. Showcasing one of the richest resources of Cook-related material in the world, this publication invites readers to engage with the extraordinary voyages-manifested in material culture-and their continuing significance today.00Exhibition: National Maritime Museum, Greenwich, London, UK (opens autumn 2018).
Full contents • James Cook, the Royal Navy and his three voyages of exploration
• The advancement of science and the increase of knowledge : charting the Pacific and enlightenment science
• Cook's Pacific : explorations and encounter in the Pacific
• Visualizing the Pacific : art, landscape and exploration
• Exhibiting the Pacific : collecting, recording and display
• 'Men of Captain Cook' : Pacific voyages 1785-1803
• The strange afterlives of Captain Cook : representations and commemorations
• Cook on display : the National Maritime Museum's Cook galleries and exhibitions, 1937-2000.’
Publishing details: Yale University Press ; Greenwich : National Maritime Museum, 2017 
256 pages : illustrations, portraits
Ref: 1000
Cook Captain artview full entry
Reference: see Captain Cook and the Pacific : art, exploration & empire / John McAleer and Nigel Rigby. [’British Royal Navy Captain James Cook's voyages of exploration across and around the Pacific Ocean were a marvel of maritime achievement, and provided the first accurate map of the Pacific. The expeditions answered key scientific, economic, and geographic questions, and inspired some of the most influential images of the Pacific made by Europeans. Now readers can immerse themselves in the adventure through the collections of London's National Maritime Museum, which illuminate every aspect of the voyages: oil paintings of lush landscapes, scientific and navigational instruments, ship plans, globes, charts and maps, rare books and manuscripts, coins and medals, ethnographic material, and personal effects. Each artifact holds a story that sheds light on Captain Cook, the crews he commanded, and the effort's impact on world history. Showcasing one of the richest resources of Cook-related material in the world, this publication invites readers to engage with the extraordinary voyages-manifested in material culture-and their continuing significance today.00Exhibition: National Maritime Museum, Greenwich, London, UK (opens autumn 2018).
Full contents • James Cook, the Royal Navy and his three voyages of exploration
• The advancement of science and the increase of knowledge : charting the Pacific and enlightenment science
• Cook's Pacific : explorations and encounter in the Pacific
• Visualizing the Pacific : art, landscape and exploration
• Exhibiting the Pacific : collecting, recording and display
• 'Men of Captain Cook' : Pacific voyages 1785-1803
• The strange afterlives of Captain Cook : representations and commemorations
• Cook on display : the National Maritime Museum's Cook galleries and exhibitions, 1937-2000.’
Publishing details: Yale University Press ; Greenwich : National Maritime Museum, 2017 
256 pages : illustrations, portraits
Love and Lamentview full entry
Reference: Love and Lament - an essay on the arts in Australia in the twentieth century, by Margaret Plant [to be indexed]
Publishing details: Thames and Hudson, 2018
Ref: 1000
Midawarr harvestview full entry
Reference: Midawarr harvest : the art of Mulkun Wirrpanda and John Wolseley / edited by Will Stubbs and John Wolseley. [’The Midawarr Harvest Series is a unique printmaking collaboration between two of Australia's most distinguished senior artists. It explores the remarkable world of edible plants that survive and prosper in the monsoon rain forests and floodplains of East Arnhem Land. These large scale coloured woodblock prints, barks and larrakitj of plants and trees are seen through the different lenses of Mulkun Wirrpanda, a Yolngu artist and clan leader, and John Wolseley, a European-trained artist known for his mixed media paintings of desert landscapes. Two artists, two different approaches, but one abiding passion - to celebrate the natural bounty to be found in the floodplains, swamps, savannas, and woodlands of northern Australia.
Notes Published to accompany the exhibition Midawarr/harvest : the art of Mulkun Wirrpanda and John Wolseley, National Museum of Australia, opening 23 November 2017.
Includes fold-out pages.
Includes index.’]
Publishing details: National Museum of Australia Press, November 2017 
©2017 
207 pages : colour illustrations ;
Ref: 1000
Wolseley Johnview full entry
Reference: Midawarr/harvest : the art of Mulkun Wirrpanda and John Wolseley / edited by Will Stubbs and John Wolseley. [’The Midawarr Harvest Series is a unique printmaking collaboration between two of Australia's most distinguished senior artists. It explores the remarkable world of edible plants that survive and prosper in the monsoon rain forests and floodplains of East Arnhem Land. These large scale coloured woodblock prints, barks and larrakitj of plants and trees are seen through the different lenses of Mulkun Wirrpanda, a Yolngu artist and clan leader, and John Wolseley, a European-trained artist known for his mixed media paintings of desert landscapes. Two artists, two different approaches, but one abiding passion - to celebrate the natural bounty to be found in the floodplains, swamps, savannas, and woodlands of northern Australia.
Notes Published to accompany the exhibition Midawarr/harvest : the art of Mulkun Wirrpanda and John Wolseley, National Museum of Australia, opening 23 November 2017.
Includes fold-out pages.
Includes index.’]
Publishing details: National Museum of Australia Press, November 2017 
©2017 
207 pages : colour illustrations ;
Wirrpanda Mulkun view full entry
Reference: Midawarr/harvest : the art of Mulkun Wirrpanda and John Wolseley / edited by Will Stubbs and John Wolseley. [’The Midawarr Harvest Series is a unique printmaking collaboration between two of Australia's most distinguished senior artists. It explores the remarkable world of edible plants that survive and prosper in the monsoon rain forests and floodplains of East Arnhem Land. These large scale coloured woodblock prints, barks and larrakitj of plants and trees are seen through the different lenses of Mulkun Wirrpanda, a Yolngu artist and clan leader, and John Wolseley, a European-trained artist known for his mixed media paintings of desert landscapes. Two artists, two different approaches, but one abiding passion - to celebrate the natural bounty to be found in the floodplains, swamps, savannas, and woodlands of northern Australia.
Notes Published to accompany the exhibition Midawarr/harvest : the art of Mulkun Wirrpanda and John Wolseley, National Museum of Australia, opening 23 November 2017.
Includes fold-out pages.
Includes index.’]
Publishing details: National Museum of Australia Press, November 2017 
©2017 
207 pages : colour illustrations ;
Colonial and Indian Exhibitionview full entry
Reference: Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886. (Fine art sections have been photocopied and are in Scheding library)
Ref: 1
Colonial artview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Stoney Henry Butlerview full entry
Reference: A residence in Tasmania : with a descriptive tour through the island, from Macquarie Harbour to Circular Head. By Capt. H. Butler Stoney
Publishing details: London Smith, Elder & co. vi, [2], 311, [1] p.1856
Ref: 1000
Stoney Henry Butlerview full entry
Reference: Victoria : with a description of its principal cities, Melbourne and Geelong, and remarks on the present state of the colony ; including an account of the Ballaarat disturbances and of the death of Captain Wise, 40th regiment / by H. Butler Stoney
Publishing details: London Smith, Elder, & Co.; [etc., etc.] 4 p. l., 219 p. 1856
Ref: 1000
Stoney Henry Butlerview full entry
Reference: A Year In Tasmania : including some months' residence in the capital : with a descriptive tour through the island, from Macquarie Harbour to Circular Head ; and a short notice of the colony in 1853 / by the author of Five years in the levant, The expedition up the Amazon, etc.
Publishing details: Hobart Town : William Fletcher, 1854. 326 p. : ill., map. ; 21 cm.
Ref: 1000
Stoney Henry Butler view full entry
Reference: see Sotheby’s Australia 23 Nov 2010 for fine example and biographical details.
lot 72
John Day (active 1850s-1860s) WYVENHOE, TASMANIA 1856
Estimate $12,000 - $15,000
[’Lot Sold $12,000 (Hammer Price)
$14,400 (Hammer Price with Buyer's Premium)
oil on canvas
signed and dated 'Day 1856' lower centre
36 X 51CM

PROVENANCE
Captain Henry Butler Stoney
Mrs Karen Butler Stoney, Auckland, New Zealand
Private Collection, Melbourne
Masterpiece Fine Art Gallery, Hobart, Tasmania
Warwick Oakman Antiques, Hobart
Private Collection, Tasmania

LITERATURE
Henry Butler Stoney, A Residence in Tasmania, with a Descriptive Tour Through the Island from Macquarie Harbour to Circular Head, London: Smith, Elder, 1856), title page, illustrated as engraving. (A copy of this volume accompanies the work.)’]
Jones Paul Osbourne 1921-1997view full entry
Reference: Paul Osborne Jones OBE - A memorial exhibition of paintings, watercolours, drawings & prints
Publishing details: Eddie Glastra Gallery, 1998, 31 p
Ref: 1000
McPherson Peter view full entry
Reference: see Davidsons Auction, 25.2.2018, lot Lot 420A: BOOKS (3), Early Colonial Drawing Books 1840-1841. Inscribed in sepia 'Peter McPherson Australian College Jamison Street, May 4th, 1841, Sydney.' The 3 books containing 88 pencil, ink & wash drawings of early Sydney, other classical art exercises, anatomical, animal, marine, architectural, English & European town & country scenes. Some paper watermarked 'Ruse & Turner, 1837.' In 1842 the population of Sydney was approx 30,000.
Fowkes Francisview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Watling Thomasview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Lancashire John Williamview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Eyre Johnview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Craig William Harrisonview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Browne Richardview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Preston Walterview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Slaeger Philipview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Read Richardview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Lycett Josephview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Rodius Charlesview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Bruce Charlesview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Gould William Buelowview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Wainewright Thomas Griffithsview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Peacock George Edwardview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Backler Josephview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Bock Thomasview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Costantini Charles H Tview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Dowling William Paulview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Bull Knudview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Strange Frederickview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Walsh Jamesview full entry
Reference: see Art of the Convicts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to 22 convict artists. The information is often verbatim from ADB, DAAO and Rienits, Early Artists of Australia and other well-known sources but there are some rarer sources used.

See also the authors’ other book: Convicts And The Arts, published the same year,

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 367 pages.
Bloodworth James stonemasonview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
O’Hearne John stonemasonview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Patterson Richard stonemasonview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Herbert Daniel sculptorview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Colbeck James sculptorview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Pickering Thomas sculptorview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Saunders Thomas sculptorview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Greenway Francis architectview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Blackburn James architectview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Thomson James architectview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Long Dennis architectview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Laing Henry architectview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Bruce Charles engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Strange Frederick as engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Dowling William Paul as engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Grove James engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Grove James engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Isaacs Thomas engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Stewart George engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Preston Walter as engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Slaeger Philip as engraverview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Jacobson Jacob silversmithview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Jones Charles silversmithview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Barrett Thomas silversmithview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Leak Jonathon potterview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Moreton John potterview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Yates Henry potterview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Muerant Ferdinand Charles jewellerview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Butler Lawrence furniture makerview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Temple William furniture makerview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Webster John furniture makerview full entry
Reference: see Convicts And The Arts by Maxwell Howell and Lingyu Xie. Chapters are dedicated to the following subjects: Novels, Poetry, Songs/Ballads, Theatre, Stonemasons/Sculptors/Architetcts, Engravers, Love Tokens, Tattoos, Breastplates, Silversmiths, Artefacts/Scrimshaw etc, Currency, Graffiti, Glaziers, Cartoons, Potters, Jewellery, Clay Pipes, Weaving/Spinning/Quilting/Needlework/Oakum, Shoemaking/Tailoring/Dressmaking, Furniture and Miscellaneous.

See also the authors’ other book: Art of the Convicts which has biographies of 22 artists.

[’Emeritus Professor Max Howell has two earned doctorate degrees, one from the University of California at Berkeley and the other from the University of Stellenbosch, South Africa . He also has an Honorary Doctor of Laws degree (LL.D) from the University of Alberta. He was Foundation Chair and first Professor of Human Movement Studies at The University of Queensland, and has held distinguished posts in Canada and the United States. He has been President of the North American Society of Sport History (NASSH), President of the Canadian Association for health, Physical Education and Recreation (CAHPER) and President of the Canadian Association of Sport Sciences (CASS). He was honoured with an Order of Australia (AO) for his contribution to graduate study and sport history in Australia and overseas. He has published extensively, particularly in sport and games in various civilizations. He represented Australia in Rugby Union (a Wallaby) and coached Canada. He has been called a Renaissance man. Dr Lingyu Xie was born in the People's Republic of China and is a research expert, particularly in sport history. She completed her bachelor's and master's degrees at the Beijing Institute of Physical Education (now Beijing Sport University) and her PhD at The University of Queensland. Her thesis was 'Sport in the Golden Age of Ancient China'. She lectured in sport history at the Beijing Institute of Physical Education and then became a research worker in the China Sport Museum in Beijing. She has published a number of papers, a chapter on sport history and some seven books. An outstanding athlete, she captained her province in volleyball for a number of years and played a few games representing China in beach Volleyball.’][’Our previous book, has been covered reasonably well but art is only once facet of the arts that has been examined to any extent. This book concerns itself with . This book, then, endeavors to look at the convicts’ contribution to the arts, and demonstrates without doubt that the convicts made a significantly broader contribution to the culture of Australia than previously thought.’]
Publishing details: Howell-Xie (privately published - CreateSpace Independent Publishing Platform), 2013, First Edition, pb, 439 pages.
Alexander Samuel Thomas listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Harris Miss E C listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Lindauer G listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Partridge Miss Beatrice listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Williams J listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Cummings Miss Gordon listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Laishley Rev Richard listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Outhwaite Miss Isa (Ida?)listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Wimperis Miss M F listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Lyon and Blair listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Grant Thomas N listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Lambert T S listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Lawson Robert A listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Tombs Wm Allen listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Wales N T H listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Blair David listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Spreat W W J listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Willis A D listed as a NZ exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Taylor Mrs listed as a Western Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Purnell Miss listed as a Western Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Franklyn Miss listed as a Western Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Knight Mrs W G listed as a Western Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Cooper Miss Louisa listed as a Western Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Samson E & H listed as a Western Australian exhibitorsview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Traylen W printer listed as a Western Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Allom W J listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Austin William listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Clarke Joseph A listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Dennis Herbert listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Ewart William listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Jenner Walter listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Mills Thomas listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Samwell William listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Clarke J J listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Gailey Richard listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Hoeppner Henry listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Stanley F D G listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Bancroft Thomas L photographer listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Bernays Lewis Adulphus photographer listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Cran Robert photographer listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Friend Henry listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Lomer A listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Ricardo Percy listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Sutton J W listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Tucker Rev J W listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Addison E L listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Alterieth Miss listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
de Jersey Madame listed as a Queensland exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Benham Miss Annie M listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Shaw R H listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Jagoe R listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Miller Mrs K listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Miller Mrs K St Barbe listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Smart Mrs R K listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Woodhouse Herbert listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Rowan Mrs (London) listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Strawbridge Mrs listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Broad Alfred Scott listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Davenport Sir S listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Esam Arthur listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Sells Rev A listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Joyner W G F listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Smith E T listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Kennedy William listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Saupe August listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Anderson George photographer listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Angus John Howard photographer listed as a South Australian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Johnson George Raymond architect listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Isaacs Isaac architect listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Hannan G T architect listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Calvert Samuel listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Naish Charles listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Paterson James Scott listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Troedel Charles listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Watson Richard listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Woodhouse Frederick Jnr listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Walton Henrietta listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Foster C listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Jennings Miss Alice listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Jolly Robert listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Mason Cyrus listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Parsons Mrs George listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Robertson Mrs Annie Irvine listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Rowan Mrs Ellis listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Russell Robert listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Sweet Edward George listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Thallon John watercolourist listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Ware Sarah listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Wilson Charles Vernon listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Ferry Graham sculptor listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Lion Mademoiselle sculptor listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Mackennal J S sculptor listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
McEwan & Co Ewan James sculptors listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Thomas Miss Margaret sculptor listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Rolando Charles listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Sasse Miss Harriet listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Scott Arthur listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Scott Miss Rosdamond listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Sprigg W G listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Stirling Mrs Elizabeth Annie listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Thomson W K 17 oils listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Twycross John listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
van den Houten Mrs 3 oils listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Wallis Mrs Alfred Edwin listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Wilson Charles Vernon listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Woodhouse Frederick Snr listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
A’Beckett Miss Emma Minnie listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.
[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]

Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Ashton G R listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Ashton J R listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Bennett Charles listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Brien Lizzie listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Calvert Samuel listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Campbell Malcolm listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Annand Joseph listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Ashton George listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Bell Miss E listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Bruford Frederick Horatio listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Burtt J W listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Cederberg John Peter listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Dowling Robert listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Felton Alfred listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Fletcher A listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Fuller S Pearce listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Gibson Richard listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Gregory Charles listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Hulme Edward Snr listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Keesing Samuel listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Mather John listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Moore John listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Morant John listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Mouchette Madame listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Oddie James listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Panton J A listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Panton Miss listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Paterson J F listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Price Miss Jane R listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Purves Miss listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Rigby Miss Lucy listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Roberts Tom 4 paintings listed as a Victorian exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Cocks G listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Collingridge George listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Collingridge Arthur listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Hern Charles listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Piguenit W C listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Sayer James W listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Turner & Henderson listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Vivian Walter H listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Watson F Fletcher listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Woodhouse E B listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Woodhouse H B listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Ellis & Slater architects listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Pritchard William architect listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Smith Robert Burdett architect listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Sheerin & Hennessy architects listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Stuart Thomas Peter Anderson architect listed as a NSW exhibitorview full entry
Reference: see Colonial and Indian Exhibition, London 1886.

[From Wikipedia: ’The Colonial and Indian Exhibition of 1886 was a very substantial exhibition held in South Kensington in London, and intended (in the words of the then Prince of Wales) "to stimulate commerce and strengthen the bonds of union now existing in every portion of her Majesty's Empire".[2] The exhibition was opened by Queen Victoria, and when it closed had received 5.5 million visitors.[3]
It was housed in a collection of purpose-built buildings designed in an Indian style.[citation needed]


Exhibits shown included a Māori tomb from New Zealand,[4] a ceremonial sword from the colony of Lagos,[5] a grasshopper swatter from the Straits Settlements,[6] and Albert Bierstadt's painting of the Bahama Islands After A Norther was displayed in the West Indian gallery, and admired by the Prince of Wales[7]
The India artware section was split into different areas representing the different princely states. The Rajputana entrance was a large Jaipur gate constructed of and provided by the then Maharaja of Jaipur.[3] The Gwalior gateway which had been displayed at the Calcutta International Exhibition (1883) was loaned by the Victoria and Albert Museum.[8]
Several dozen Indians were imported, reputedly from Agra jail,[9] to serve as living exhibits; they were described as artisans, it appears that they were trained in their crafts as part of the British Empire's long-term project to 'reform the criminal castes'.’]

catalogue online at https://archive.org/stream/cihm_05255#page/95/mode/2up/search/roper
Publishing details: Colonial and Indian Exhibition, 1886 Official Catalogue. London: William Clowes and Sons. 1886.
Muir Michaelview full entry
Reference: Michael Muir - Chameleon Effect, 8 works, all illustrated, biographical details.
Publishing details: Martin Browne Contemporary, 2018, 16pp
Ref: 1000
Power Harold Septimus 1877-1951view full entry
Reference: See Joels auction 18.3.18, lot 250: Description: Power Harold Septimus 1877-1951
Portrait of a debutant, circa 1941
Oil on canvas
signed lower right
123cm x 97.5cm

PROVENANCE:
Sotheby's, Paintings from the Collection of John Schaeffer, Sydney, 25/08/2003, Lot No. 11. Prior to that purchased from descendants of the artist in the U. K. Exhibited: H. Septimus Power 1878 - 1951 A Retrospective Trevor Bussell Fine Art Gallery Sydney April 1985 cat. 38. Power received his first training as an artist in Melbourne and working with Hans Heysen in Adelaide. He then studied at Julien's Academy in Paris under Jean Paul Laurens who had also taught Rupert Bunny. However it was in England that Power's skills were first widely recognised. Settling in London he was soon in demand as a society portraitist as well as for animal painting and landscape and he exhibited regularly at the Royal Academy. In 1915 he was appointed an Australian Official War Artist on the Western Front whilst George Lambert served in Palestine and Egypt. From 1921 he divided his time between England and Australia until 1940 when he returned permanently to Melbourne. As his student and biographer Max Middleton relates 'He had known some of the more colourful personalities such as Sickert Augustus John Orpen Sargent and Frank Brangwyn who had been at the height of their powers during the years which he spent overseas (The Art of Septimus Power Rigby Adelaide 1974 p. 8). He spoke also of the influence of the great Spanish impressionist Sorolla y Bastida whose bravura style captivated many London artists in the 1920s. These influences are clearly seen in the glamour confident brushwork and striking colour scheme of the present work a portrait of Miss Josie Truscott painter at the Cowes Hotel on Phillip Island Victoria
Maughan Jocelynview full entry
Reference: Jocelyn Maughan - Inspirations - Black Head to Patonga. Manning Rgional Art Gallery exhibition
Publishing details: Manning Rgional Art Gallery, 2018
Ref: 1000
Boyd Arthurview full entry
Reference: in Look Magazine, March-April 2018, essay by Peter Porter on Boyd’s Death of the Unicorn
Publishing details: Art Gallry Society of NSW, March-April 2018
Ryui Kojiview full entry
Reference: in Look Magazine, March-April 2018, essay by Georgina Cole
Publishing details: Art Gallry Society of NSW, March-April 2018
Ref: 224
Streeton Arthurview full entry
Reference: in Look Magazine, March-April 2018, essay by Andrew Yip on Streeton’s war art
Publishing details: Art Gallry Society of NSW, March-April 2018
Pachucka Evaview full entry
Reference: in Look Magazine, March-April 2018, essay by Natalie Wilson
Publishing details: Art Gallry Society of NSW, March-April 2018
Ref: 224
Wolseley Johnview full entry
Reference: in Look Magazine, March-April 2018, essay by Hannah Hutchison
Publishing details: Art Gallry Society of NSW, March-April 2018
Tucker Albertview full entry
Reference: in Look Magazine, March-April 2018, essay by Leanne Santoro
Publishing details: Art Gallry Society of NSW, March-April 2018
Hirschfeld-Mack Ludwigview full entry
Reference: in Look Magazine, March-April 2018, short essay on the artist’s woodcut ‘Desolation’
Publishing details: Art Gallry Society of NSW, March-April 2018
Gard Rosalindview full entry
Reference: see Douglas Stewart Fine Book, catalogue March 2018: Melbourne Gothic : the “Bendigonia” sketchbooks of Rosalind Gard, 1901-1902.
An extraordinary group of drawings by a young Melbourne woman, Rosalind Gard, dating to around the time of Federation. Rosalind lived in the Gothic-style mansion Bendigonia, on Queen’s Road, which had been built in 1883 for her father, John Edward Gard (1840-1920), a wealthy mining investor who had made his fortune in Bendigo. She was the youngest, by some years, of 11 children, and grew up in Bendigonia with a small menagerie of dogs and birds. Previously unpublished, her drawings include whimsical caricatures, anthropomorphic animals, devils and demons, and fantastic creatures. Reminiscent of the work of Edward Lear, the atmospheres in the drawings range from cheerful to dark, a number of them being truly disturbing images tinged with violence and repressed sexuality. These were private drawings, and the sketchbooks were probably Rosalind’s secret: the vicious nature of some of the lampoons of family and friends would suggest the drawings were never intended to be shown to others. 
Sketchbook 1. Oblong folio (260 x 360 mm), original cloth boards (stained and marked), upper board calligraphically inscribed by the owner in violet ink ‘Rosalind Gard’; front pastedown inscribed in pencil ‘Rosalind Gard – Her Book / Aurora, Syd. 7/11/01’ and beneath it her permanent address ‘Bendigonia, Queen’s Road, Melbourne’; rear pastedown with label of the Sydney stationers W.C. Penfold & Co; containing [38] full-page watercolour and ink drawings and [1] half-page ink drawing; several drawings with the artist’s captions, some initialled or signed, one dated September 1902; occasional light foxing.
Sketchbook 2. Oblong folio (260 x 360 mm), original cloth boards (matching Sketchbook 1), upper board decorated in red and aqua inks by the owner, with calligraphic inscription ‘Rosalind Gard / Rubbish’; front pastedown with botanical ornament and ‘Rosalind Gard / Bendigonia’ in pencil; containing [13] full-page watercolour and ink drawings; scattered foxing.
One might expect that there would be few if any traces of the life of a Melbourne teenager of the 1890s in published records. Fortunately for us, though, during her adolescent years Rosalind Gard was an enthusiastic correspondent and competition entrant with the Australian Town and Country Journal, a Sydney publication. A considerable amount can be gleaned about her private life and personality from her numerous letters and pieces of creative writing published in that periodical between June 1895, when she had just turned 14, and June 1899, soon after her eighteenth birthday. Here are three of Rosalind’s published letters in their entirety:
From Australian Town and Country Journal, Sydney, Saturday  8 June 1895: ‘Bendigonla, Leopold-street, Melbourne. Dear Dame Durden, I have read so many nice interesting letters in the “Town and Country,” and if you think that this is good, I should very much like to see it in print. I have many pets. They are Roy, Nick, and Jack, my three dogs. Dick is a very tame wedge-tailed eagle. I have also many pigeons, canaries, and different kinds of small birds. I have six brothers and four sisters; but all, excepting one brother, are much older than myself. My brothers have just returned from Gippsland, and as they took a camera with them, they have brought home some beautiful photographs of scenery. I wish Captain Cook [ATCJ staff writer] could see them. He would be delighted. One of them is a photograph of an immense tree, called the messmate tree. It is situated on the summit of Mount Drummer. With love, I remain, your loving friend, Rosalind Gard (aged 14)’.
From Australian Town and Country Journal, Sydney, Saturday 22 February 1896: ‘Bendigonia. St. Kilda-road. Melbourne (Vic.). Dear Dame Durden, I am writing to tell you about my holiday trip. I went to Gippsland and Ballarat, but I will only be able to tell you about my Gippsland trip in this letter. We started in the train on Monday morning at 6 o’clock, and arrived at Sale about 3 in the afternoon. Then we went on board a small steamboat that waited in the Channel. The steamer went down the river for a long time, and it was so lovely to see all the strange birds take flight as we approached them. After passing through Lake Wellington, Lake King, and lastly Lake Victoria (all these lakes are joined by small channels), we landed at the Lake’s Entrance about 9 o’clock that night, and we drove to a hotel. The next day we took the coach to Lake Tyers; some of the scenery we passed was sublime, and filled one with awe. At Tyers we used to spend nearly all the day on the lake, listening to the bell birds’ beautiful notes, and rowing lazily about. One day we explored a jungle, and I found some of the most lovely creepers and ferns that can be imagined; but we could not stay long, because the mosquitoes were something terrible. We went fifteen miles down the winding lake in a steam launch. In some places the scenery was lovely; thickly wooded hills rose almost straight from the lake, and they were reflected in the clear water. My brother shot a black snake. It was four feet long, and as it had an extra pretty skin we brought the skin home. If you can pardon me for writing such a long letter, I would like so much to see it in print. If I may, I will tell you about my other trip and new pets next time I write. With love, I am always yours. Rosalind Gard (aged 14). P.S.-I enclose a four-leaved clover for you, for luck.-R.G.’.
From Australian Town and Country Journal, Sydney, Saturday 10 June 1899: ‘Bendigonia, Queen’s-road, Melbourne. Dear Princess Spinaway, Just a little note to let you know that I received the prize safely. Thank you so much for sending me such a lovely book. It is a very nice addition to my collection. I am so glad I won that competition, as it was the last I could compete for, having now reached the dreaded age of 18; but I hope Dame Durden keeps a warm corner in her heart for “old girls,” and still cares to hear from them if they have anything of interest to tell her about. Now, dear Princess Spinaway, I must say goodbye. From your sincere friend, Rosalind Gard. P.S. Has the Jester ever made the acquaintance of the cow-a-piller, or bull ant, who sends his portrait (which I copied from an original drawing of my brother’s)? (Dame Durden: The “bull ant” drawing is very clever. I am seeing if it can be reproduced for the “Corner” to smile at. If you had dráwn it on Bristol board in Indian ink, there would have been no difficulty.)
Rosalind’s first husband, H.G. Nicholas, died in World War One. His name (as owner, rather than creator) is written on the back of one of the loose drawings in one of Rosalind’s sketchbooks, which indicates that Rosalind kept her sketchbooks even after marriage and that she did share her drawings with her husband, possibly even allowing him to loan one of them to someone at some point. She married her second husband, Keith Melville Balfour, son of the late Dr. G. W. Balfour, of Edinburgh, in London in 1927. The sketchbooks were sourced in the U.K..
Extract from the Victorian Heritage Database Report on Bendigonia:
‘One of the few remaining examples of the substantial private residences that once lined St Kilda and Queen’s Roads, Bendigonia was erected in 1883 for John Edward Gard, one of the more prominent members of the Bendigo mining community. The design of the multi-gabled house, attributed to Wilson & Beswicke, is a relatively late and very unusual example of the bargeboarded Rural Gothic style, exhibiting something of the muscularity of the Modern Gothic. Symmetrical about each of its main elevations, it is distinguished by the three bays on the Queen’s Road facade, the splayed corners of which project increasingly as they rise through the full height of the building. A detached service wing and former stable block at the rear of the house survive in an altered but recognizable form.’
From 1914 until 1970 the mansion served as a private hospital. Initially named The Bendigonian, then St Luke’s, from 1915 it became known as Vimy House. In 1949 Vimy House was purchased by the Melbourne & Metropolitan Tramway Board, who used the building as a hospital for its employees until it was sold in 1970. Bendigonia is today subdivided into private apartment residences.
Note: The original photograph of Bendigonia reproduced here was taken in 1896, and is held in the collection of the State Library of Victoria.

Douglass Elizabeth view full entry
Reference: see Douglas Stewart Fine Book, catalogue March 2018: DOUGLASS, Elizabeth (1825-1902); various photographers
Photograph album of European royalty, compiled by colonial artist Elizabeth Douglass of Corio Villa, Geelong, early 1860s – 1870s.

Mid-nineteenth century Australian photograph album, large quarto (330 x 260 mm), full blind-tooled green morocco with elaborate ornamentation in red and gilt, the upper board with red calf label gilt stamped with the owner’s initials ‘E. D.’, brass clasp incomplete, all edges gilt, front pastedown with the owner’s personal card laid in, printed ‘Mrs. Alfred Douglass, Corio Villa’, and original binder’s ticket of ‘Charlwood & Son, Booksellers and Stationers, Bourke St. E., Melbourne’, silk endpapers, verso of endpaper with coloured lithographed crests of various royal houses, [18] leaves of thick board, with 106 window-mounted (i.e. removable) albumen print photographs, 102 in standard carte de visite format (approximately 103 x 63 mm), and 7 in larger cabinet card format (160 x 110 mm), numerous examples with hand colouring; all of the photographs with Elizabeth Douglass’ handwritten identifying captions, either on the album leaf or inscribed verso of the photograph; towards the rear of the album are a hand coloured cabinet card studio portrait of Elizabeth Douglass by the Melbourne photographers Foster and Martin, taken around 1875; and cabinet card studio portraits by Johnstone O’Shannessy & Co., Melbourne, taken around 1880, of a young man and woman who are presumably her only two children (of seven) to have survived infancy; the photographs are in uniformly good condition throughout, and the leaves virtually free from foxing; a superb example of a mid-Victorian thematic photograph album, with an important Geelong association.
This remarkable collection of photographic portraits of European royalty and other notable figures of the time was compiled during the 1860s and 70s by Elizabeth Douglass, a significant Geelong portrait painter and sketcher. Elizabeth would most likely have acquired the photographs on visits to local booksellers in Geelong or Melbourne. Her husband, Alfred Douglass (1820-1885), was a wealthy and prominent Geelong businessman who made his fortune in the wool industry and later became proprietor of the Geelong Advertiser. Like his wife, Alfred was also an amateur artist. The Douglass’ house, Corio Villa, constructed in 1856, is the oldest and only known surviving prefabricated cast iron house in Australia.
From DAAO:
‘Elizabeth Douglass, miniature painter and sketcher, worked mainly in miniature portraits on ivory, chalk drawings, watercolour, engraving and oil colour. Her work received recognition at the Geelong Mechanics Institute, where she exhibited in the 1850’s and early 1860’s. She is said to have been born in Launceston, Van Diemen’s Land, on 5 July 1825, although she was presumably related to the family of John de Little who arrived at Hobart Town in 1830. After marrying Alfred Douglass in Van Diemen’s Land, she accompanied him to Geelong, Victoria where she lived from 1850 until her death on 25 December 1902. Of her seven children, only two survived infancy. Elizabeth Douglass’s work, which included miniature portraits on ivory, chalk drawings and local watercolour views, was exhibited at the Geelong Mechanics Institute in 1857 and 1869. As well, her arrangement of Skeleton Leaves and Flowers was exhibited there in 1862; her scrapbook (Mitchell Library) contains the certificate of merit she was awarded for this. The book also contains Douglass’s extensive collection of English and European engravings as well as a small number of competent copies, mostly in oil. All are unsigned but are presumably her work. The most striking of these is a watercolour portrait on ivory of Amy Robsart, copied from the engraving by J. Hayter.’
The contents of the album are as follows:
Leaf 1 recto: Queen Victoria’s husband and children: marble bust of Albert, Prince Consort; Albert Edward; Alfred; Arthur; Victoria; Leopold; Beatrice
Leaf 1 verso: Queen Victoria (x2); Prince Consort; photo-montage of Victoria’s family
Leaf 2 recto: Prince and Princess of Wales; Queen Victoria and the Prince and Princess of Wales; Prince of Prussia; Princess of Prussia
Leaf 2 verso: Princess Alice; Prince of Hesse; Prince Christian of Schaumburg-Lippe; Princess Helena of Schleswig-Holstein
Leaf 3 recto: Princess Louise; Prince Arthur; Prince Leopold; Princess Beatrice
Leaf 3 verso: Queen of Prussia; King of Prussia; Crown Prince of Prussia; Princess Royal (Victoria)
Leaf 4 recto: King of Denmark; Queen of Denmark; Empress Marie of Russia; Czar Alexander II
Leaf 4 verso: “Bertie” (Prince of Wales), Alexandra and their daughter
Leaf 5 recto: “Bertie”; Queen Victoria; Prince Alfred
Leaf 5 verso: Alexander III of Russia; Maria Fedorovna, his consort; Queen of Bavaria; King of Bavaria
Leaf 6 recto: Prince Teck; Princess Teck; Duchess of Cambridge; Duke of Cambridge
Leaf 6 verso: Queen of Spain; King Amadeus of Spain; King of Portugal; Queen of Portugal
Leaf 7 recto: King of Belgium; Queen of Belgium; Queen of Naples (Maria Sofia, sister of “Sissi”); King of Naples
Leaf 7 verso: Empress of Austria; Emperor of Austria; King of Greece; Queen of Greece
Leaf 8 recto: King of Saxony; Queen of Saxony; Queen of Sweden; King of Sweden
Leaf 8 verso: Princess Alice and Louis of Hesse; “Bertie”; Princess Alexandra
Leaf 9 recto: Emperor Maximillian of Mexico; Empress Carlota of Mexico; Queen of Holland; King of Holland;
Leaf 9 verso: Cardinal Wiseman; The Pope Pius IX; The Sultan and The Khedive (Ottoman Empire)
Leaf 10 recto: Dhuleep Singh (the Black Prince of Perthshire); King of Persia; ex Queen of Spain; Princess Alexandra and infant
Leaf 10 verso: Duchess d’Aumale; King Louis Philippe; Queen Amelie; Duc d’Aumale
Leaf 11 recto: Comtesse de Paris; Duchesse de Montpensier; Duc de Montpensier; Comte de Paris
Leaf 11 verso: Empress of France; Napoleon III; Emperor & Empress of France with son; Prince Imperial
Leaf 12 recto: Lieutenant Haig; Prince Alfred; Hon. Elliot Yorke; Lord Newry
Leaf 12 verso: Princess Clotilde; Prince Napoleon; Prince de Joinville; Princesse de Jinville
Leaf 13 recto: Prince of Orange; the late King of the Belgians; Crown Princess of Denmark; Crown Prince of Denmark
Leaf 13 verso: Napoleon III
Leaf 14 recto: Empress Eugenie
Leaf 14 verso [blank]
Leaf 15 recto [blank]
Leaf 15 verso: Empress of Brazil; Emperor of Brazil; King of Italy; Duchess of Edinburgh and child
Leaf 16 recto: painting of Frederick the Great at Sanssouci by Menzel
Leaf 16 verso: portrait of Elizabeth Douglass
Leaf 17 recto: engraving of Napoleon
Leaf 17 verso: portraits of Elizabeth Douglass’ children (?)
Leaf 18 recto and verso [blank]
Loose at rear of album: two large format lithographed portraits by Osboldstone, Melbourne, of Boer War heroes Lieut.-Gen. White and Lieut.-Gen. French.
 

Pericles Leonview full entry
Reference: Congregated creatures. Ten etchings by Leon Pericles. [’A charming small format artist’s book by the noted West Australian printmaker, presumed to be created in only a handful of copies, perhaps even unique. In 1992 Pericles would release another artist’s book titled ‘Congregated images’ probably based on this work.’ from Douglas Stewar Fine Books.]
Publishing details: the artist, 1987. Small quarto, gilt-lettereed calf, marbled endpapers, pp. [viii]; 10 etchings printed in colour, each signed, titled and editioned AP by the artist, manuscript title page and text.
Ref: 1000
Arts Council of Australia NSWview full entry
Reference: AUSTRALIA. ARTS COUNCIL (NSW)
The Arts Council of Australia. N.S.W. Division. A five years’ record 1943-47.
Publishing details: [Sydney : Waite & Bull, 1947]. Octavo, original printed wrappers (light stains and foxing), staple bound, pp. 32, photographic illustrations;
Ref: 1000
Fitzgerald Richardview full entry
Reference: see SL magazine of the State Library of NSW, Autumn 2018, p 38-9, article by Keith Vincent Smith on an 1830 Australian Almanack owned by Fitzgerald with 4 drawings by him of Aborigines.
Publishing details: item in SLNSW.
Brown Jocelyn Leeview full entry
Reference: sister of Mitty Lee Brown. Jocelyn had exhibition at Macquarie Galleries in 1947. Lover of photograher Alec Murray.
Brown Mitty Leeview full entry
Reference: From DAAO: Mitty Lee Brown b. 1921
Also known as Juanita Lee Brown
Artist (Painter)
Lee Brown a painter and printmaker, doyenne of the Charm School. Born in San Francisco was runner up in NSW Travelling Art Scholarship, 1944. Left Australia in 1945 to travel extensively around the world. She spent her final years in Sri Lanka. Painter and printmaker, was born in San Francisco (USA), a fifth-generation Australian who came to Sydney as a young child with her parents. She went to school at Ascham in Sydney and at Westonbirt, England. Her mother, Ailsa Lee Brown , was an artist, and Mitty also studied art: at East Sydney Technical College under Frank Medworth and William Dobell in 1944-46. While still a student, she took up residence at Merioola in Woollahra, a boarding house run by Chica Lowe who actively sought tenants with an interest in all fields of artistic expression. In 1944 Mitty Lee Brown was runner-up to Anne Wienholt , another Merioola resident, for the NSW Travelling Art Scholarship. In 1945 three pages of Present Day Art in Australia were devoted to her work; the paintings reproduced included a self-portrait, Sulky Girl .
Mitty Lee Brown left Australia with Wienholt in 1945, travelled extensively and did not return to Sydney until 1962, then but briefly. This inveterate traveller has lived in Paris and near Bordeaux in France, in Rome and, briefly, in Tokyo. She has built a house in Bali near Donald Friend’s longtime residence, lived on a houseboat in Kashmir, India, and renovated a house on the Greek Island of Cos. She has also undertaken two overland journeys from Europe to Australia via Turkey, Afghanistan and India. From 1980 until her death in June 2012, as Mrs Risi, she lived and worked near Trincomalee, Sri Lanka, but maintained regular visits to Australia.
Writers:
Simmons, Paul
Joanna Mendelssohn

Lee-Brown Mittyview full entry
Reference: see Brown Mitty Lee
Rickards Jocelyn view full entry
Reference: The Painted Banquet by Jocelyn Rickards (aka Jocelyn Lee Brown). The book discusses her time at art school in Sydney in the 1940s. Friend of Mitty Lee Brown.
Publishing details: Littlehampton Book Services Ltd, 1987, hc, 184 pp
Ref: 1009
Merioolaview full entry
Reference: see The Painted Banquet by Jocelyn Rickards (aka Jocelyn Lee Brown). The book discusses her time at art school in Sydney in the 1940s. And at Merioola.
Publishing details: Littlehampton Book Services Ltd, 1987, hc, 184 pp
Cust Mrview full entry
Reference: see Sotheby's Australia, March 21, 2018,
Sydney, Australia: Lot 178, Description: § MR CUST
active 1850s
Sandridge Railway Jetty and Pier, Melbourne, Victoria 1858
oil on academy board
signed, dated and inscribed 'Artist / Mr Cust / 1858 / An Original Painting of / Sandridge Railway Jetty and Pier, / Melbourne Victoria' verso
20.7 x 31 cm
Sold $95,000
PROVENANCE
Private Collection, United Kingdom
Private Collection, United Kingdom, acquired from the above

See Hordern House catalogue July, 2018: "Sandridge Railway Jetty and Pier, Melbourne, Victoria 1858".<br />…
CUST, Mr.
Melbourne: 1858.
Oil on academy board, 207 x 310 mm; signed, dated and inscribed on verso 'Artist / Mr Cust / 1858 / An Original Painting of / Sandridge Railway Jetty and Pier, / Melbourne Victoria'.
A Victorian jewel; Port Phillip in the 1850s Gold Rush

A small masterpiece: "Mr." Cust, an elusive artist whose first name is so far unknown, demonstrates with meticulous strokes an ability to conjure a sensation of intimacy and tranquility on the smallest of scale. His work is reminiscent in this respect of some of the paintings of S.T. Gill; like Gill he combines a strong understanding of light and colour with a high degree of natural, artistic talent. This sensitively rendered painting is on academy board, to which Cust has painstakingly applied layer after layer of oil paint.
Like so many others, it is possible that Cust arrived in Victoria as a result of the discovery of gold in 1851. Shipping records note a W. Cust arriving in 1858 from Adelaide, while in 1854 a J. Cust arrived from Launceston. It was during the 1840s, in the early days of La Trobe's appointment as Superintendent of the Port Phillip District, that the first artistic flurry began, continuing into the gold rush decade of the 1850s and La Trobe's governorship from 1851; prior to this period there are notably few visual records of Melbourne. This evocative, newly discovered painting of Melbourne's port, constructed in the former swampland of Sandridge, captures the frenzy of expansion on the seafront. In 1854 the new "Railway Pier", later renamed "Station Pier", was built and sleek clippers and the first steamships, still carrying full sails, clustered in the bay bringing passengers and cargo both into and out of Port Phillip. New piers were constructed to handle the enormous influx of immigrants: Victoria's population exploded between 1851 and 1861 with 584,000 people migrating to Victoria, most by sea.
The new railway line, built in 1852, employed Australia's first steam passenger-train, connecting Port Melbourne to the city proper. The vast extent of commercial activity is captured in this painting; building materials, crates and barrels are being sorted in the foreground under ominous black clouds; ships in full sail and a harbour chockfull with moored vessels are superbly captured by "Mr." Cust -- it is a moment captured in time, painted directly from observation, and giving one of the very few visual accounts of maritime infrastructure and its expansion in the colony brought about by the discovery of gold.
The inscription on the verso identifies "Mr Cust" and notes that the painting was priced "Five guineas framed". It carries the engraved label of Chas. Yorke, cabinet maker of 227 Elizabeth St. Melbourne and in manuscript the name "Stedman", who may perhaps have been an early owner. The Sands & Kenny directory of 1858 lists a Charles E. Stedman as a solicitor at 21 Eldon Chambers, Bank Place, 77, Collins Street West.

less
Provenance: Private Collection, United Kingdom.


Pelchen Bobview full entry
Reference: Bob Pelchen - Watercolours of Australia Calendar 1999 (Bob Pelchen)
Publishing details: Biscay Melbourne 1998 Excellent unmarked condition. Twelve pen and watercolour paintings by Bob Pelchen published in calendar format. Each print measures 12" x 9".
Ref: 1000
Burgoyne Gerald Achilles view full entry
Reference: Gerald Achilles BURGOYNE - Manuscript Journal - Watercolours & Pencil Drawings of Australian Pioneers & Settlers - First Voyage of Renowned British Wine Merchant & Founder of Australia's Wine Trade - RMS Oceana. Journal of pencil sketches and watercolours with an interesting connection to early Australian viticulture, featuring caricature pencil sketches of historical Australian personalities including two premiers of Queensland, a successful businessman, and a convict brought from England, also with nautical watercolour scenes from the voyage, each captioned in manuscript. Made by a notable and artistically inclined passenger identified as G. Burgoyne
Publishing details: Australia, January - March 1893. UNPUBLISHED. With Voyager Books in 2018
Ref: 1000
May Joscelyne view full entry
Reference: Joscelyne May - 224 Original Watercolour Paintings, Rendering Scenes from Travels to Egypt, the West Indies, Australia, Europe and More. Watercolour views from around the world, 1905-1949, made by May Joscelyne who was connected to the family of Jasper Moon of Llanymynech. Each painting on a separate leaf of art paper, oone hundred and ninety-nine of which measure approximately 25 x 17 cm, and twenty-five being slightly smaller at approximately 17 x 12 cm (or in between the two sizes). Several are captioned and dated in manuscript by the artist to verso. Occasional tears to margins, otherwise in very good condition, lovely nostalgic views of the world in watercolour. From the estate sale of wealthy shipper Jasper Moon (1881-1975), of White Rock House, situated in hills half a mile from the village of Llanymynech which straddles the English and Welsh border. Jasper Moon's daughter Ursula (born 1912) married Peter Harry Joscelyne (died 1958), May Joscelyne therefore possibly being his mother or an aunt. Peter's father was Dr. F.P. Joscelyne of Cornwall, England, District Surgeon & Beaufort Estates Medical Officer. Little is known of the female artist May Joscelyne, apart from her connection to the Moon family, and that she died in 2012 at the notable age of 104. In the same year, the White Rock House and estate at Llanymynech was sold, including the present archive of her watercolours. May's art work reveals that she enjoyed the privileged available to the upper class, such as extensive around the world. The highlight of the lot are the paintings made in Egypt and the Sudan in 1923. At least 17 photographs are identified as being from Egypt; there may be more. These includes paintings of the Pyramids and Sphynx of Giza, White Nile scenes, views of Assouan (Aswan), the city of Cairo and its striking mosque minarets, a view of Luxor from the Nile with a felucca in the foreground, and the Red Sea. One image of three small pyramid tombs is captioned "Kassala Desert" which is in the Sudan, possibly depicting the Pyramids at Jebel Barkal in the Sudan. Travelling to the extremities of the African continent, in Morocco she paints the Koutoubia Mosque minaret tower of Marrakesh, in South Africa, Table Mountain, the vast plains and Iron Mountain [Yzerberg] in the Zoutspanberg district of Transavaal, White River, and Hermanus Island off of Cape Town. Seven or more paintings capture Hawaii's splendour back in 1937. Tranquil views include Diamond Head and Waikiki Beach, Cooper Island of the Palmyra Atoll, and Honolulu Harbour. Spectacular beaches of the West Indies are well represented as she memorializes her voyage to Montego Bay in Jamaica, to Haiti, and in Martinique 1935. A rocky coastal view is captioned 'Old Panama.' Vivid colours and tropical flora are accentuated in the exquisite gardens of the Matava Hotel in Fiji, visiting there in 1949. A voyage to Australia and New Zealand was made in 1939, as seen by the artistic views of the coastline between Brisbane and Sydney, and New Zealand's spectacular lakes Lake Rotorua, Wakatipu, and Wanaka (also known as Lake Pembroke). Not far away, May also visited Kuta Beach in Bali, which is depicted in at least two of her works. The farthest voyage made was to America. A soft-hued sunset painting is captioned 'Saint Lawrence River, Quebec.' Continental sojourns took the artist to Ronda and Malaga in Spain, along the coast of Portugal affording an island view off of Cascais, to Sorrento in Italy, to France where she paints the enchanting river valley scenes of Castéra-Bouzet in 1913 as well as the Palais des Papes in Avignon and views of Dieppe, and finally up to the famous North Sea coast of Noordwijk aan Zee in The Netherlands. (The earliest views in the lot are from Europe.) With posh retreats, English gardens and more beaches to explore at home in the UK, we find views of some of the Lochs of Scotland, Kilconquhar Castle in Fife, Wales Dolgelly, Harlech, Newquay, Pembroke, Windermere Lake in Cumbria, Ullswater, and Holywell. Perhaps the most charming European scene is that of a beach lined with carts known as a bathing machines. Bookseller Inventory # 026182
Publishing details: 1905 UNPUBLISHED. With Voyager Books in 2018

Ref: 1000
Wild Heritageview full entry
Reference: A Wild Heritage of Western Australia - Watercolours of Birds, Mammals and Wildflowers by Fremlin Bryony; Bourke, Pat; Marchant, Neville Marchant Dr. [to be indexed]
Publishing details: St. George Books, Australia, 1986
approx 70 pages
Ref: 1000
Western Australian artview full entry
Reference: see A Wild Heritage of Western Australia - Watercolours of Birds, Mammals and Wildflowers by Fremlin Bryony; Bourke, Pat; Marchant, Neville Marchant Dr.
Publishing details: St. George Books, Australia, 1986
approx 70 pages
Browning George view full entry
Reference: George Browning Memorial Retrospective Exhibition, Victorian Artists Society Galleries, 19-29 May, 2001.
Publishing details: VAS, 2001.
Ref: 1000
Wedge John Helder fieldbook with drawingsview full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Jackson George view of Portland Bay 1835-6view full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Smyth Brough papers with sketchview full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Botterill John portrait of la Trobeview full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Botterill John view full entry
Reference: from DAAO: John Botterill worked as a professional photographer and oil miniaturist in the mid-19th century in Victoria. In 1853 he was part of the organising committee for the Victorian Fine Arts Society's exhibition to which he contributed eight works.
miniaturist, portrait painter and professional photographer, was born in Britain, son of John Botterill and Mary, née Barker. John junior was working in Melbourne from the early 1850s, advertising in the Argus of 12 April 1853 as a portrait, miniature and animal painter and offering lessons in landscape, fruit and flower painting in oil, watercolour, 'crayon’ or pencil. Examples of his work were displayed at Mr Baker’s Church of England Book Depot, 71 Swanston Street. The Armchair critic stated that his portrait of a little girl was 'pert, pretty and picturesque’ but considered his Greek Girl more English than Grecian. In 1853 Botterill joined the organising committee for the Victorian Fine Arts Society’s exhibition, to which he contributed eight works. These included portraits (one a miniature self-portrait), two figure studies – Greek Girl and Peasant Boy – and a possible narrative subject, Thank you, Sir . He was listed in the catalogue as a miniature painter at Mr Baker’s. His two works shown in the 1856 Victorian Exhibition of Art were Family Portrait , described as a 'large oil painting, representing a group of three little girls and a boy, very artistically treated’, and a 'portrait of a little boy half nude, and engaged in plucking a bunch of grapes’, possibly another appearance of Peasant Boy . Botterill appeared in Melbourne directories from 1862 to 1866 as an artist of Caroline Street, ...
Flourished
• fl. c.1850 - c.1879
Drysdale Anne diary and drawings 1839-53view full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Brees S C view of Flemington, Melbourneview full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Harnel Julius gold diggings 1853view full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Walter Carl portrait photographyview full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Short Henry Our Adopted Country 1861view full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Norton Charles colonial garden 1859view full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Knights Samuel Melbourne Cup winner 1865view full entry
Reference: see Treasures of the State Library of Victoria by Bev Roberts
[’The State Library of Victoria, established as the Melbourne Public Library in 1854, is the custodian of material that records and reflects Victoria’s history and culture. From manuscripts and maps to comics and computer game, the Library’s collections offer unexpected insights into what makes Victoria and Victorians unique. Treasures of the State Library of Victoria, published to celebrate the library’s 150th anniversary in 2004, encourages readers to discover the changing face and nature of life in Victoria since the time of first contact between Aboriginal and European cultures. The lavish publication showcases more than 200 images, sourced from the library’s world-class collections, including those of rarely seen photographs, prints, publications, letters, maps and memorabilia. Every chapter highlights special aspects of the collections and demonstrates their astonishing depth and diversity, covering topics as broad as settlement and separation, the discovery of gold, Ned Kelly, the arts, Melbourne style, sport, natural history and more.’]
Publishing details: Focus Publishing, 2004, 176 Pages
Ku-ring-gai Art Society A History of theview full entry
Reference: A History of the Ku-ring-gai Art Society, 1965 - 2015, by Rowena Monty. Includes Index, list of life members, Presidents and patrons. Artists who have works illustrated in the book are included in the Scheding Index.
[‘For more than 50 years, the Ku-ring-gai Art Society has contributed to the cultural needs of the region, with countless exhibitions, lessons & art prizes to encourage local talent.’] [to be indexed]
Publishing details: Willoughby. Phillip Mathews. 2015. 4to. Or.bds. Dustjacket. 156pp. Profusely illustrated in colour and black & white.
Early Sydney cabinetmakersview full entry
Reference: Early Sydney cabinetmakers, 1804-1870. By John Earnshaw. A Directory with an Introductory Survey. Early colonial residents had no Chippendale or Sheraton to go to for their furniture, so were reliant on the available skills. Between 1804 & 1870, a number of cabinetmakers appeared in
Sydney. [To be indexed]
Publishing details: Syd. Wentworth Books. 1971. Or.cl. d.w. 55pp. b/w plates. 1st ed. ne of 1,000 copies.
Ref: 1000
Six of the best architects of Ku-ring-gaiview full entry
Reference: Six of the best architects of Ku-ring-gai, by Zeny Edwards. Sir John Sulman, Richard George Howard Joseland, Walter Liberty Vernon, Hugh Venables Vernon, Augustus Aley, Leith Cecil McCredie. The lives & works of six architects who chose to live on the North Shore of Sydney in the area known as Ku-ring-gai, & designed houses that reflected their interpretation of the Australian style.
Publishing details: Rosebery. Centatime Pty Ltd. 1998. Col.Ill.wrapps. 141pp. Profusely illustrated in black & white.
Ref: 1000
Sulman Sir John view full entry
Reference: EDWARDS, Zeny. SIX OF THE BEST ARCHITECTS OF KU-RING- GAI. Sir John Sulman, Richard George Howard Joseland, Walter Liberty Vernon, Hugh Venables Vernon, Augustus Aley, Leith Cecil McCredie. The lives & works of six architects who chose to live on the North Shore of Sydney in the area known as Ku-ring-gai, & designed houses that reflected their interpretation of the Australian style.
Publishing details: Rosebery. Centatime Pty Ltd. 1998. Col.Ill.wrapps. 141pp. Profusely illustrated in black & white.
Joseland Richard George Howard view full entry
Reference: EDWARDS, Zeny. SIX OF THE BEST ARCHITECTS OF KU-RING- GAI. Sir John Sulman, Richard George Howard Joseland, Walter Liberty Vernon, Hugh Venables Vernon, Augustus Aley, Leith Cecil McCredie. The lives & works of six architects who chose to live on the North Shore of Sydney in the area known as Ku-ring-gai, & designed houses that reflected their interpretation of the Australian style.
Publishing details: Rosebery. Centatime Pty Ltd. 1998. Col.Ill.wrapps. 141pp. Profusely illustrated in black & white.
Vernon Walter Liberty view full entry
Reference: EDWARDS, Zeny. SIX OF THE BEST ARCHITECTS OF KU-RING- GAI. Sir John Sulman, Richard George Howard Joseland, Walter Liberty Vernon, Hugh Venables Vernon, Augustus Aley, Leith Cecil McCredie. The lives & works of six architects who chose to live on the North Shore of Sydney in the area known as Ku-ring-gai, & designed houses that reflected their interpretation of the Australian style.
Publishing details: Rosebery. Centatime Pty Ltd. 1998. Col.Ill.wrapps. 141pp. Profusely illustrated in black & white.
Vernon Hugh Venablesview full entry
Reference: EDWARDS, Zeny. SIX OF THE BEST ARCHITECTS OF KU-RING- GAI. Sir John Sulman, Richard George Howard Joseland, Walter Liberty Vernon, Hugh Venables Vernon, Augustus Aley, Leith Cecil McCredie. The lives & works of six architects who chose to live on the North Shore of Sydney in the area known as Ku-ring-gai, & designed houses that reflected their interpretation of the Australian style.
Publishing details: Rosebery. Centatime Pty Ltd. 1998. Col.Ill.wrapps. 141pp. Profusely illustrated in black & white.
Aley Augustus view full entry
Reference: EDWARDS, Zeny. SIX OF THE BEST ARCHITECTS OF KU-RING- GAI. Sir John Sulman, Richard George Howard Joseland, Walter Liberty Vernon, Hugh Venables Vernon, Augustus Aley, Leith Cecil McCredie. The lives & works of six architects who chose to live on the North Shore of Sydney in the area known as Ku-ring-gai, & designed houses that reflected their interpretation of the Australian style.
Publishing details: Rosebery. Centatime Pty Ltd. 1998. Col.Ill.wrapps. 141pp. Profusely illustrated in black & white.
McCredie Leith Cecil view full entry
Reference: EDWARDS, Zeny. SIX OF THE BEST ARCHITECTS OF KU-RING- GAI. Sir John Sulman, Richard George Howard Joseland, Walter Liberty Vernon, Hugh Venables Vernon, Augustus Aley, Leith Cecil McCredie. The lives & works of six architects who chose to live on the North Shore of Sydney in the area known as Ku-ring-gai, & designed houses that reflected their interpretation of the Australian style.
Publishing details: Rosebery. Centatime Pty Ltd. 1998. Col.Ill.wrapps. 141pp. Profusely illustrated in black & white.
Young Johnview full entry
Reference: Charm School - Sherman Galleries exhibition catalogue August 1998, essay by Lara Travis, with biographical information.
Publishing details: Sherman Galleries exhibition catalogue August 1998. Filed in John Young - the double ground - Paintings, in Scheding Library.
Young Johnview full entry
Reference: Awful Backlash - Sherman Galleries exhibition catalogue May, 2000., essay by Pamela Kember, with biographical information. Illustrated
Publishing details: Sherman Galleries exhibition catalogue May, 2000. Filed in John Young - the double ground - Paintings in Scheding Library.
Weston Nevilleview full entry
Reference: see PETER FRANCIS auction, Carmarthen,  , UK, lot 149, 21 May, 2018: NEVILLE WESTON, 'East End Market, Adelaide', from 'Requiem for a Market' series, signed and dated, oils on canvas, 91cm x 1.25m. (B.P. 24% incl. VAT) ALSO at same auction house 11 July 2018 there are over 20 additional lots.

CONDITION REPORT:
Scuffs to the frame and marks, but the picture itself basically good, many annotations verso.

AND on 13 March, 2019, the same auctioneer offered: The following 22 lots are from the Estate of Neville Weston (1936-2017) who has works in collections around the world and having been born in Britain and studied in Britain, became well known as an artist in Australia. Full biography on request, the lots form part of the residue of his studio collection. Neville Weston, Italian skyline with sculpture, signed and dated '03, oils on canvas, 76 x 105cm approx, framed. (B.P. 24% incl. VAT)
Levers Williamview full entry
Reference: see ROSEBERYS LONDON, 22 March, 2018, lot 218:
Levers (William) Fifty Years after, 6 albumen prints by Marks & Co. Carlton,[Victoria], original half leather, worn, back cover off, inscribed by the author on publication to an Irish Lever and with a 3pp. note by a later member of the family objecting to the author's comments on Ireland “The parish priest was, as a rule, a cultured gentleman, generally educated abroad and was esteemed and respected by all classes...”, Melbourne, Ford, [1894] [Ferguson 10731]. According to a note in the Mitchel library copy 300 copies were printed for private distribution but the work seems scarcer than this would suggest; we can find no other auction record., UK, 22 March, 2018, lot 218: Levers (William) Fifty Years after, 6 albumen prints by Marks & Co. Carlton,[Victoria], original half leather, worn, back cover off, inscribed by the author on publication to an Irish Lever and with a 3pp. note by a later member of the family objecting to the author's comments on Ireland “The parish priest was, as a rule, a cultured gentleman, generally educated abroad and was esteemed and respected by all classes...”, Melbourne, Ford, [1894] [Ferguson 10731]. According to a note in the Mitchel library copy 300 copies were printed for private distribution but the work seems scarcer than this would suggest; we can find no other auction record.
Colahan Colinview full entry
Reference: see Max Meldrum His Art and Views, edited by Colin Colahan. The introduction is an appreciation of Meldrum and his art by C. Colahan, followed by "The invariable truths of depictive art; illustrated lecture delivered by Max Meldrum, Melbourne, 1917.[Includes [9] p. of advertisements, not included in paging. Issued in standard ed. and limited ed. of 150 copies with half leather binding.]
Publishing details: Melbourne : McCubbin, [1919] 
117 pages : illustrations, portraits. Standard edition
Browning George view full entry
Reference: See Sotheby’s Australia lot 99, 7 April 2018: Description: GEORGE BROWNING
1918-2000
Eureka Stockade 1985-1989
oil on canvas
signed, dated and inscribed ' George Browning / helped by / Joan Browning and / P. Burness, R. Courtney, L. Cox, / C. Downer, R. Fielding, D. Knox, / A. Marshall, E. Millett, N. Millett, / P. Stanley 1985 - 89' lower right
217 x 341.5 cm

PROVENANCE
Private Collection
Christie's Australia, Melbourne, 31 July 2001, lot 122, illustrated
Mr Russell Crowe, Sydney, acquired from the above

EXHIBITED
George Browning Memorial Retrospective Exhibition, Victorian Artists Society Galleries, Melbourne, 19 - 29 May 2001, no. 6
Calvert Herbert Hepburn view full entry
Reference: Herbert Hepburn Calvert (Australian, 1870-1923) see BONINGTONS AUCTIONEERS AND VALUERS 26 March, 2018, lot 160. Bird paintings.

Ellis Mr 1846view full entry
Reference: see Deutscher and Hackett auction 18.4.18, lot 58:
JOSEPH BACKLER
(c.1813 – 1895)
VIEW OF GOULBURN, 1846
oil on canvas
80.0 x 100.0 cm
ESTIMATE: 
$30,000 – 40,000

PROVENANCE
Probably: Hugh Bonython, Adelaide
Private collection, Melbourne
Thence by descent
Private collection, Sydney
EXHIBITED
On loan to the Queensland Art Gallery, Brisbane, 1987 (label attached verso, owner: Mr W. Rice)
CATALOGUE TEXT
If the eighteen-year-old Londoner, Joseph Backler, caught and convicted for passing forged cheques, had not had his death sentence commuted to transportation for life, Australian art, especially portraiture, would have been much poorer. A prolific painter, Backler, had to go through further privations, including nine years at Port Macquarie, place of secondary punishment, before receiving his ticket of leave. On the good side were his landscapes of the settlement, including St. Thomas' Church, Port Macquarie (Mitchell Library, State Library of New South Wales, Sydney), as well as marriage to Margaret Magner in that same church in 1842. Back in Sydney, he remained there until we learn from an advertisement in the Sydney Morning Herald of 30 August 1845 that he was in Goulburn offering his services as a portrait painter.1 Contact is given in the name of ‘J. Sinclair’ Goulburn. Today, a portrait of James Sinclair by Backler is also in the collection of the Mitchell Library.

The presence of an artist in Goulburn in 1846 aroused considerable interest. Even more so two, the Sydney Morning Herald reporting on the activities of Backler and a ‘…Mr. Ellis, who has recently come amongst us’.2 Both painted views of Goulburn, that of Backler’s arousing much comment. Believing our painting to be the same, the newspaper reported that his landscape was ‘much admired’; but raised the matter of the railway line to Sydney, much talked about at the time. Mr Backler has:

… given us the benefit of railways by introducing a locomotive with its train, steaming along: but being too much in advance of the times, and the gentleman for whom it was painted wishing a correct representation of the town as it is, the locomotive is to be put hors de combat, which will no doubt give satisfaction to the croskers: it was painted, however, before Mr. Woore’s report appeared, but he and the artist seem both to have been of one mind as to the whereabouts the terminus should be at this end.3

Thomas Woore was a leading pastoralist near Goulburn. When the colonial government refused to have a survey undertaken for the proposed railway, Woore had possible routes investigated at his own expense. The results were reported to a meeting in Sydney in August, much in time with Backler’s painting. The subsequent government wranglings and failure of the venture became part of history, as has the painting. The topographical spread of the town is picturesquely arranged with towering gums to frame the composition, historic Georgian buildings positioned in their best view. The ‘unrivalled’ Goulburn Hotel, opened by Nathan Mandelson in 1846, is prominent in white, two-storied splendour. Mandelson had substantial interests in the same company proposed for the construction of the private railway, meetings being held in the hotel’s ballroom. Prominent among the other buildings is the Anglican Church of St. Saviour, designed by the Sydney architect, James Hume.

Crowned by a square western tower, it was built of red brick in 1840 to a characteristic English design. Replaced in 1874 by the present Gothic-styled cathedral designed by Edmund Blacket, the church’s bricks were reused in the cathedral’s floor. From Goulburn, Backler went forward to other towns, painting landscapes of Bathurst c.1847 and Tenterfield 1861, and many other portraits.4

1. ‘Goulburn’, Sydney Morning Herald, 30 August 1845, p. 1
2. ‘Goulburn. Fine Arts’, Sydney Morning Herald, Sydney, 1 September 1846, p. 2
3. ibid. The French phrase ‘hors de combat’ translates as ‘out of the fight’
4. (View of Bathurst from Victoria Cottage Farm), c.1847, oil on canvas mounted on composition board, 55 x 88.5 cm, in the collection of the Mitchell Library (ML973), State Library of New South Wales, Sydney; (View of Tenterfield), 1861, oil on canvas, 66.5 x 89 cm, private collection

DAVID THOMAS
Pauquet Polydore Jean Charles 1800-1879view full entry
Reference: see Deutscher and Hackett auction 18.4.18, lot 90
POLYDORE JEAN CHARLES PAUQUET
(1800 – 1879, French)
LYRE MAGNIFIQUE, 1835
watercolour on paper
23.5 x 15.0 cm
inscribed with title below image: g n g. P Lyre magnifique ¼
bears inscription above image: 14 / 56
ESTIMATE: 
$8,000 – 12,000

PROVENANCE
Private collection, USA
Private collection, Adelaide
RELATED WORKS
Lyre Magnifique, hand-coloured engraving illus. in Lemaire, C.L., Pauquet, H. and P., Histoire Naturelle des Oiseaux Exotiques, Paquet and Debure, Paris, 1836, pl. 56
CATALOGUE TEXT
Hippolyte (1797-1871) and Polydore Pauquet (1800-1879) painted watercolours and engraved plates for the publication Histoire Naturelle des Oiseaux Exotiques, published in 8 volumes in royal octavo format in Paris, 1836, containing 80 hand-coloured engravings. This work is a preparatory watercolour for the hand-coloured engraving of the same title [image in reverse].
Seuffert Antonview full entry
Reference: B. Peet, The Seuffert legacy : New Zealand colonial master craftsmen : the craft of Anton Seuffert & his sons William, Albert & Carl,
Publishing details: (2008).
Seuffert Antonview full entry
Reference: see lot 227 on 24 April at
The Pedestal
55 Princes Gate
Exhibition Road
LONDON, SW7 2PG
United Kingdom

Estimate: £4,000 - £6,000
A rare Australian huon pine, casuarina, Australian cedar and specimen wood hexagonal centre table, circa 1880 in manner of Hugentobler and SturmProfusely inlaid with various timbers, the shaped moulded edge top decorated with a central medallion surrounded a wide border of parquetry motifs on an ebony ground, the deep apron decorated with panels of specimen woods above a chequer banding and hexagonal wheels, the tapering central shaft, on a hipped tripartite base surmounted by chequered vase finials, the legs with applied moulded panels, on concealed wooden castors, 115cm wide, 105cm deep, 78cm high.This showpiece demonstration of the marqueter’s skill relates to the sophisticated marquetry and parquetry work on the table by Henry Hugentobler (active 1878-91) and Conrad Sturm (1851-1907) now in the collection of Art Gallery of South Australia, Adelaide (821F1A). The Adelaide Museum table is the most elaborate example of 19th-century South Australian currently identified. The skill of these Australian marqueters is recorded in an image of a parquetry of New South Wales timbers reproduced in R.T. Baker, Cabinet Timbers of Australia, 1913, p.173 which utilises some of the same patterns found on the table offered here. The central European style of marquetry may well have originated with the large number (around two hundred) of German cabinet makers who settled in South Australia, notably by 1891 the population in Adelaide was nearly 10% of German origin. Although working in a British colony, the German emigré community in southern Australia replicated German life and the furniture they produced was influenced by German models. In the 1840s and 1850s cabinet-makers worked in what has become known as the South Australian Biedermeier style. The émigré furniture production ranged from humble domestic pieces to sophisticated exhibition type marquetry. Australian colonies participated in intercolonial and international exhibitions during the second half of the 19th century allowing cabinet-makers the chance to showcase their skills. The Adelaide Museum table was exhibited in both the Sydney (1879) and Melbourne (1880) International Exhibitions. The table was considered to be a demonstration of technical virtuosity and it was claimed that it utilised 30,000 individual pieces of veneer, see Christopher Menz, South Australian Biedermeier: German Furniture Makers in South Australia in the 19th Century, published in the journal of the Furniture History Society, 1992. The marquetry tradition in the Antipodes was bought to prominence in New Zealand and has been well documented through the labelled work of the Bohemian born cabinet-maker Anton Seuffert (1815-1887). Seffeurt settled in Auckland in 1859 and had originally worked with his father in the Vienna firm of Carl Leistler & Sons and oversaw the installation of the firm's exhibits at the Crystal Palace in 1851. By 1862 Seuffert was engaged in making a marquetry secretaire for the 1862 International Exhibition at South Kensington, subsequently gifted to Queen Victoria from the inhabitants of Auckland. See B. Peet, The Seuffert legacy : New Zealand colonial master craftsmen : the craft of Anton Seuffert & his sons William, Albert & Carl, (2008).

Hugentobler Henry (active 1878-91)view full entry
Reference: see lot 227 on 24 April at
The Pedestal
55 Princes Gate
Exhibition Road
LONDON, SW7 2PG
United Kingdom

Estimate: £4,000 - £6,000
A rare Australian huon pine, casuarina, Australian cedar and specimen wood hexagonal centre table, circa 1880 in manner of Hugentobler and SturmProfusely inlaid with various timbers, the shaped moulded edge top decorated with a central medallion surrounded a wide border of parquetry motifs on an ebony ground, the deep apron decorated with panels of specimen woods above a chequer banding and hexagonal wheels, the tapering central shaft, on a hipped tripartite base surmounted by chequered vase finials, the legs with applied moulded panels, on concealed wooden castors, 115cm wide, 105cm deep, 78cm high.This showpiece demonstration of the marqueter’s skill relates to the sophisticated marquetry and parquetry work on the table by Henry Hugentobler (active 1878-91) and Conrad Sturm (1851-1907) now in the collection of Art Gallery of South Australia, Adelaide (821F1A). The Adelaide Museum table is the most elaborate example of 19th-century South Australian currently identified. The skill of these Australian marqueters is recorded in an image of a parquetry of New South Wales timbers reproduced in R.T. Baker, Cabinet Timbers of Australia, 1913, p.173 which utilises some of the same patterns found on the table offered here. The central European style of marquetry may well have originated with the large number (around two hundred) of German cabinet makers who settled in South Australia, notably by 1891 the population in Adelaide was nearly 10% of German origin. Although working in a British colony, the German emigré community in southern Australia replicated German life and the furniture they produced was influenced by German models. In the 1840s and 1850s cabinet-makers worked in what has become known as the South Australian Biedermeier style. The émigré furniture production ranged from humble domestic pieces to sophisticated exhibition type marquetry. Australian colonies participated in intercolonial and international exhibitions during the second half of the 19th century allowing cabinet-makers the chance to showcase their skills. The Adelaide Museum table was exhibited in both the Sydney (1879) and Melbourne (1880) International Exhibitions. The table was considered to be a demonstration of technical virtuosity and it was claimed that it utilised 30,000 individual pieces of veneer, see Christopher Menz, South Australian Biedermeier: German Furniture Makers in South Australia in the 19th Century, published in the journal of the Furniture History Society, 1992. The marquetry tradition in the Antipodes was bought to prominence in New Zealand and has been well documented through the labelled work of the Bohemian born cabinet-maker Anton Seuffert (1815-1887). Seffeurt settled in Auckland in 1859 and had originally worked with his father in the Vienna firm of Carl Leistler & Sons and oversaw the installation of the firm's exhibits at the Crystal Palace in 1851. By 1862 Seuffert was engaged in making a marquetry secretaire for the 1862 International Exhibition at South Kensington, subsequently gifted to Queen Victoria from the inhabitants of Auckland. See B. Peet, The Seuffert legacy : New Zealand colonial master craftsmen : the craft of Anton Seuffert & his sons William, Albert & Carl, (2008).

Sturm Conrad (1851-1907)view full entry
Reference: see lot 227 on 24 April at
The Pedestal
55 Princes Gate
Exhibition Road
LONDON, SW7 2PG
United Kingdom

Estimate: £4,000 - £6,000
A rare Australian huon pine, casuarina, Australian cedar and specimen wood hexagonal centre table, circa 1880 in manner of Hugentobler and SturmProfusely inlaid with various timbers, the shaped moulded edge top decorated with a central medallion surrounded a wide border of parquetry motifs on an ebony ground, the deep apron decorated with panels of specimen woods above a chequer banding and hexagonal wheels, the tapering central shaft, on a hipped tripartite base surmounted by chequered vase finials, the legs with applied moulded panels, on concealed wooden castors, 115cm wide, 105cm deep, 78cm high.This showpiece demonstration of the marqueter’s skill relates to the sophisticated marquetry and parquetry work on the table by Henry Hugentobler (active 1878-91) and Conrad Sturm (1851-1907) now in the collection of Art Gallery of South Australia, Adelaide (821F1A). The Adelaide Museum table is the most elaborate example of 19th-century South Australian currently identified. The skill of these Australian marqueters is recorded in an image of a parquetry of New South Wales timbers reproduced in R.T. Baker, Cabinet Timbers of Australia, 1913, p.173 which utilises some of the same patterns found on the table offered here. The central European style of marquetry may well have originated with the large number (around two hundred) of German cabinet makers who settled in South Australia, notably by 1891 the population in Adelaide was nearly 10% of German origin. Although working in a British colony, the German emigré community in southern Australia replicated German life and the furniture they produced was influenced by German models. In the 1840s and 1850s cabinet-makers worked in what has become known as the South Australian Biedermeier style. The émigré furniture production ranged from humble domestic pieces to sophisticated exhibition type marquetry. Australian colonies participated in intercolonial and international exhibitions during the second half of the 19th century allowing cabinet-makers the chance to showcase their skills. The Adelaide Museum table was exhibited in both the Sydney (1879) and Melbourne (1880) International Exhibitions. The table was considered to be a demonstration of technical virtuosity and it was claimed that it utilised 30,000 individual pieces of veneer, see Christopher Menz, South Australian Biedermeier: German Furniture Makers in South Australia in the 19th Century, published in the journal of the Furniture History Society, 1992. The marquetry tradition in the Antipodes was bought to prominence in New Zealand and has been well documented through the labelled work of the Bohemian born cabinet-maker Anton Seuffert (1815-1887). Seffeurt settled in Auckland in 1859 and had originally worked with his father in the Vienna firm of Carl Leistler & Sons and oversaw the installation of the firm's exhibits at the Crystal Palace in 1851. By 1862 Seuffert was engaged in making a marquetry secretaire for the 1862 International Exhibition at South Kensington, subsequently gifted to Queen Victoria from the inhabitants of Auckland. See B. Peet, The Seuffert legacy : New Zealand colonial master craftsmen : the craft of Anton Seuffert & his sons William, Albert & Carl, (2008).

Moss L Cview full entry
Reference: MOSS L.C., Australian Official War Photographs, medium, WWI issue. 40 in set.
Ref: 1000
Gaze Haroldview full entry
Reference: The simple Jaggajay. The Mite Merry Series. Charming adventures of an imaginary bird, a gum-nut girl and their bush creature friends, in rhyming verse.
Harold Gaze was born in New Zealand and studied at art school in London during the First World War, after which he moved to Melbourne where he wrote and illustrated a number of books for children. He later returned to London, then settled in Pasadena, California in 1927 where he resided until his death. In California he worked with Disney and continued to publish. Many of the details of Gaze’s life have proven elusive to researchers, but his unique and creative children’s stories and imagery remain delightful and sought after today. (From Douglas Stewart Fine Books, 2018)

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Publishing details: Melbourne : Whitcombe & Tombs, 1919. Quarto, illustrated card wrappers, cloth repair to spine, 30pp (mildly foxed), 3 tipped-in plates (2 colour, one monochrome), b/w line drawings, occasional foxing.
Ref: 1000
Check Josephview full entry
Reference: Archive of photographs of cattle stations, sheep stations and stud farms in the Central West, Liverpool Plains, and Hunter Valley districts of New South Wales, circa 1891.

ype of stock, description of activity, or physical features) and the photographer’s name, ‘J. Check’; the locations are Martindale Station (near Denman, Hunter Valley); Turanville Stud Farm (near Scone, Hunter Valley); Gummin Gummin Station (near Coonabarabran) (x2); Garrawilla Station (near Coonabarabran); Goolhi Station (near Coonabarabran) (x2, both dated 1891); Lue Station (near Mudgee) (x2); Havilah Station (near Mudgee), and Bando Station (near Gunnedah); a few with light foxing, one with offsetting (Bando), and one with small loss at bottom corner and closed edge tear (Turanville); otherwise the photographs are in good condition, all strong prints with good tonal range.
A significant photographic record of New South Wales stations – some famous, some much less well-known – which documents buildings and other infrastructure, workers, the extent of land clearance, and day-to-day activity within the cattle, sheep and equine industries around 1890.
Joseph Check (1856-1936) was a New South Wales photographer and oil painter, active from the 1880s to the 1920s. Although apparently based for at least part of his career in Leichhardt, Sydney (see the inscribed self-portrait held in the collection of the National Library of Australia), the geographical locations of the subjects in most of his surviving work suggest he travelled widely throughout New South Wales and Queensland. The State Library of New South Wales holds an Album of photographs of the New England and Richmond River Districts, ca. 1896-1899; the Historic Houses Trust of New South Wales holds a number of Check’s photographs of the Belltrees estate, Scone; and two oil paintings by Check of Burketown, on the Gulf of Carpentaria (National Library of Australia) and the Beehive Hotel, Cuttabri (State Library of New South Wales) are are also extant.

The images in the present archive of photographs by Check would seem to date from relatively early in his career as a photographer, and all appear to be unrecorded. (From Douglas Stewart Fine Books, 2018)

Ref: 1000
Outhwaite Ida Rentoulview full entry
Reference: DASKEIN, Tarella Quin; OUTHWAITE, Ida Rentoul (illustrator)
Chimney Town

Publishing details: London : A. & C. Black, 1934. Octavo, publisher’s pictorial blue cloth boards, inscription to front endpapers, 238 pp, illustrated throughout with full-page black and white plates, two colour plates, and drawings in the text. Muir 1908.
Ref: 1000
MALTBY, Peg (1899-1984)view full entry
Reference: Ben and Bella.

Publishing details: Melbourne : A Murfett Production, [c.1947]. Quarto, staple bound card wrappers, pp 16, with 8 full page colour illustrations
Ricardo Geoffreyview full entry
Reference: Colour aquatint of a woman - Colour aquatint, 145 x 115 mm, unsigned as issued, printed on a sheet with poems by Miroslav Holub. A proof printing of an etching included in the artists’ book folio Traversare 2.
Publishing details: Melbourne : Centre for the Development of Artist’s Books and Limited Editions, 1993.
Ref: 1000
Orthman Otto Walter Anton view full entry
Reference: see Theodore Bruce Auction, Sydney, April 15, 2018: Lot 27
Otto Walter Anton Orthman
(1899-1966) Germany/Australia
The Beach + Warf-Lumpers (sic) + Lugger on Slip + Industrial + Men must Work c.1930s (5)
Bromoil prints (2), bromide prints (3)
Each signed & titled
23.5 x18 cm,17.5 x 25 cm, 19.5 x 24 cm,19.5 x 24 cm, 23.5 x 28 cm

EXHIBITIONS:
Warf-Lumpers was accepted & hung at the International Exhibition of Photograph Bolton England 1934
1979 Posthumous exhibition of works, Access Gallery, Qld College of Art
Represented: QAGOMA

LITERATURE:
Queensland Pictorialist Photography 1920-1950
https://www.daao.org.au/bio/walter-orthman/biography/

OTHER NOTES:
Member of the Queensland Camera Club from 1929
Member of the Royal Photographic Society of Great Britain
Whiteley Brettview full entry
Reference: Brett Whiteley 'The American Dream' Limited Edition prints

Limited Edition Reproduction of The American Dream by Brett Whiteley 1969. Includes 18 prints each measuring 670mm x 320mm.
Publishing details: special edition fine art reproductions (18 panels)
in folio box - edition limited to 500.
Ref: 1000
Kingston Fairlieview full entry
Reference: Missing Dot (children’s book)
Publishing details: ETT Imprint, 2016
Ref: 1000
Cummings Elisabethview full entry
Reference: Elisabeth Cummings : Landscapes and Interiors / author: Max Dingle ; introduction by John McDonald.


Publishing details: Shoalhaven City Arts Centre (Nowra, N.S.W.) [2014]
Ref: 1000
Dehle Elizabethview full entry
Reference: See Davidson’s Auction: 520. DEHLE, ELISABETH MCLEISH (BORN C1912) (8 paintings)

Sydney Suburban Views. The artist was a student at East Sydney Technical College, & assistant to Rayner Hoff in the mid 1930s.
Oil on Board (8)
50x60cm (largest)
Lot Number: 520
Sale date: 08-Apr-18
$100.00 - $300.00
Parkes Varneyview full entry
Reference: See Davidson’s Auction: lot 193A. PARKES, VARNEY (1859-1935)

Family Gathering at Dolls Point, Sydney, c1890s. Varney Parkes was the son of Sir Henry Parkes. Provenance: private collection, NSW.
Oil on Canvas
75x106cm
Lot Number: 193A
Sale date: 08-Apr-18
$2000.00 - $5000.00
Barker Davidview full entry
Reference: see Davidsons Auctions 9.4.18 BARKER, David (1888-1946)
Lot 212: BARKER, David (1888-1946)

Description: Australian Light Horseman & Orange Vendor, Middle East, c1915-17. David Barker served with the AIF at Gallipoli & Palestine. Many of his works were included in The ANZAC Book, & others reproduced as recruitment posters. Provenance: Barker family collection.
Dimensions: 38x28cm
Artist or Maker: BARKER, David (1888-1946)
Medium: Oil on Canvas on Board
Roxburgh Rachelview full entry
Reference: Rachel Roxburgh, Early Colonial Houses of New South Wales
Publishing details: Ure Smith, Sydney, 1974, 1st edition. dust jacket. 4to., 603 pp
Ref: 1000
Roxburgh Rachelview full entry
Reference: ROXBURGH,, Rachel and Douglass BAGLIN. COLONIAL FARM BUILDINGS OF NEW SOUTH WALES
Publishing details: Adelaide, Rigby Limited, 1978. 4to; pp. 175
Ref: 1000
Architectureview full entry
Reference: see ROXBURGH,, Rachel and Douglass BAGLIN. COLONIAL FARM BUILDINGS OF NEW SOUTH WALES
Publishing details: Adelaide, Rigby Limited, 1978. 4to; pp. 175
Architectureview full entry
Reference: see Rachel Roxburgh, Early Colonial Houses of New South Wales
Publishing details: Ure Smith, Sydney, 1974, 1st edition. dust jacket. 4to., 603 pp
Roxburgh Rachelview full entry
Reference: History of Riversdale, Goulburn / by Rachel Roxburgh

Publishing details: he National Trust of Australia (New South Wales), 1970 
12 p. : ill. ; 22 cm. 
Ref: 1000
architectureview full entry
Reference: see History of Riversdale, Goulburn / by Rachel Roxburgh

Publishing details: he National Trust of Australia (New South Wales), 1970 
12 p. : ill. ; 22 cm. 
Donnelly Eamon view full entry
Reference: THE MILK BARS BOOK BY EAMON DONNELLY.

Leonard Joel are proud to support Eamon Donnelly's nostalgic and colourfully illustrated 400 page coffee table book celebrating an iconic Australian invention, the Milk Bar. 
The book features Donnelly’s photographs of brightly coloured shopfronts, faded facades, hand-painted signage and shelves stacked with milk, newspapers and ice creams. It is the culmination of a 15 year project to document milk bars, delis and corner stores all over Australia. 
Leonard Joel are delighted to announce an official book launch in collaboration with our
December Collectables Auction 2018.
Publishing details: 2018
Ref: 1000
Yoshida Toshi view full entry
Reference: see Jasper52 auction, New York, NY 10013, 18.4.2018, lot 66: Artist: Toshi Yoshida
Title: Plum Tree and Blue Magpie
Publisher: Yoshida Studio
Date: 1951, this later embossed signature edition printed from the original blocks
Medium: Japanese Woodblock print
Size: oban, 16 x 11 inches

Toshi Yoshida was the eldest son of Hiroshi Yoshida the renowned shin hanga master. Under his father's influence, Toshi began to learn painting at age 3 and woodblock printing at age 13. In 1925-29 he studied oil painting at Taiheiyo Art School and in 1929 traveled with his father to India and Southeast Asia making sketches for future prints. In 1936 Toshi journeyed to China and Korea, and in 1952-53 he visited the US and Europe where he exhibited works and lectured about woodblock prints. From the early fifties forward Toshi often traveled to the US, Canada, Mexico, Africa, Australia and Antarctica for sketching, exhibitions and lectures. For a few years after the war, he made prints of abstract subjects, but then reverted to prints of scenery and animals. In 1980, Toshi opened the Miasa Cultural Center in Nagano Prefecture where he taught students from many countries, including Carol Jessen, Karyn Young and Ryusei Okamoto.

Abagatsheer Bill view full entry
Reference: SEE LOT 581, WILLINGHAM AUCTIONS, 21.4.18: A large oil on canvas by Bill Abagatsheer of A Watermill in Australian Landscape. Entitled "Old Mill Bridgewater" framing stamp for Adelaide Australia and shipping ticket on reverse size of painting 100cm x 74cm
Bergner Yoslview full entry
Reference: Yosl Bergner paintings 1963 – 1968
Publishing details: Jerusalem : Bineth Publishers, 1969. Quarto, boards in illustrated dustjacket, in original cardboard carton, numerous colour and black and white plates. The deluxe edition, limited to 200 copies, signed by the artist on the title page, with an original colour lithograph signed by the artist.

Ref: 1000
King Martinview full entry
Reference: Martin King Book of sand (with Douglas Stewart Fine Books, 2018)

Publishing details: [Melbourne : the artist], 1995. Quarto, gilt-lettered green cloth, being a series of sheets of sand paper interlined with blind-impressed pages. Signed and numbered in an edition 1/1. Unique.
Ref: 1000
Fine Ruthview full entry
Reference: BURKE, Clifford
Bone songs

Publishing details: Newark, VT: Janus Press, 1992. Artists’ book. Oblong quarto, unpaginated, illustrations by Ruth Fine. Limited to 150 copies, bound in a non-adhesive binding of paper folds housed within a buckram and hide slipcase. Book & structure by Claire van Vliet, executed with Lidk Wray & Audrey Holden.
Ref: 1000
Durante Tomasso view full entry
Reference: DURANTE, Tomasso and WALLACE-CRABBE, Chris
Skin, surfaces and shadows (presentation copy for Martin King)
Publishing details: Melbourne : Tommaso Durante, 2007. Quarto, bound by George Matoulas in blind embossed white papered boards in blind etched paper dustjacket, unpaginated, text by Chris Wallace-Crabbe, images by Tomasso Durante, limited to 25 copies plus six artist’s proofs signed by artist and poet.
Ref: 1000
Davidson Michaelview full entry
Reference: DAVIDSON, Michael Lindsey
[CONTEMPORARY PHOTOGRAPHY] Interstice : A double exposure project.
Publishing details: [Melbourne] : [Michael Lindsey Davidson], 2012. Quarto, illustrated wrappers, hand stitched binding, [38] pp, including reproductions of Melbourne contemporary artist Davidson’s b/w photographs and a seven page essay on the series by Davidson. Limited to 50 copies, signed by artist.
Ref: 1000
Durack Elizabethview full entry
Reference: DURACK, Elizabeth - Time and tide. The story in pictures of Roebuck Bay N.W. Australia - “The paintings in Time and Tide — The Story in Pictures of Roebuck Bay N.W Australia Elizabeth Durack’s first exhibition, were produced over an eight month period (October 1945—May 1946) when the artist was based in Broome, Western Australia. In some 100 works she created paintings from direct observation, imagination and research that reflect the pearling town’s past and present” – http://www.elizabethdurack.com

Publishing details: Perth : Imperial Print [1946]. Octavo, illustrated wrappers, pp. 18
Ref: 1000
Tucker Albertview full entry
Reference: Dominion Galleries catalogue, illustrated short list of overseas exhibitions, 10 black & white reproductions of Tucker’s works, catalogue of 52 works,
Publishing details: Sydney : Dominion Art Galleries and Australian Galleries, 1965. Octavo, illustrated wrappers, pp. 12,
Ref: 1000
May Philview full entry
Reference: Phil May’s graphic pictures

Publishing details: London : George Routledge and Sons, Limited, [c.1900]. Oblong folio, original cloth backed pictorial papered boards (rubbed, lower board lightly marked, corners bumped), 45 pp, all full-page colour plates of May’s humorous cartoons,
Ref: 1009
Bergner Yosl view full entry
Reference: Yosl Bergner : Paintings of Flowers May-June 1979
Publishing details: Tel Aviv : Bineth Gallery, 1979. Square octavo, illustrated wrappers, signed on title page by Yosl Bergner; text in English and Hebrew, illustrated in colour and black and white; a very good inscribed copy.
Ref: 1000
Crooke Rayview full entry
Reference: Encounters with country : landscapes of Ray Crooke, by Gavin Wilson. Catalogue for a touring exhibition, September, 2005 - November, 2006 (travelling from Cairns Regional Gallery to S. H. Ervin Gallery, Orange Regional Gallery, Broken Hill Regional Gallery).
Publishing details: Cairns Regional Gallery, 2005. Small square quarto, pictorial card covers, 72 pp, illustrated with colour plates throughout.
Day Christopherview full entry
Reference: New Reading Order - New Reading Order is the first major publication on the work of Melbourne based artist Christopher Day. Published by Negative Press, the book presents Day’s unique collage and photographic works alongside Eleven Passages of Ambiguous Associations by Kyla McFarlane.


Publishing details: Melbourne : Negative Press, 2016. Quarto, lettered cloth, photographs, essay by Kyla McFarlane. Edition limited to 500 copies.

Ref: 1000
Backler Joseph 1813 – 1895view full entry
Reference: see Deutscher and Hackett auction, 18 April 2018, lot 58
JOSEPH BACKLER
(c.1813 – 1895)
VIEW OF GOULBURN, 1846
oil on canvas
80.0 x 100.0 cm
ESTIMATE: 
$30,000 – 40,000
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enquire
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absentee bid
telephone bid
PROVENANCE
Probably: Hugh Bonython, Adelaide
Private collection, Melbourne
Thence by descent
Private collection, Sydney
EXHIBITED
On loan to the Queensland Art Gallery, Brisbane, 1987 (label attached verso, owner: Mr W. Rice)
CATALOGUE TEXT
If the eighteen-year-old Londoner, Joseph Backler, caught and convicted for passing forged cheques, had not had his death sentence commuted to transportation for life, Australian art, especially portraiture, would have been much poorer. A prolific painter, Backler, had to go through further privations, including nine years at Port Macquarie, place of secondary punishment, before receiving his ticket of leave. On the good side were his landscapes of the settlement, including St. Thomas' Church, Port Macquarie (Mitchell Library, State Library of New South Wales, Sydney), as well as marriage to Margaret Magner in that same church in 1842. Back in Sydney, he remained there until we learn from an advertisement in the Sydney Morning Herald of 30 August 1845 that he was in Goulburn offering his services as a portrait painter.1 Contact is given in the name of ‘J. Sinclair’ Goulburn. Today, a portrait of James Sinclair by Backler is also in the collection of the Mitchell Library.

The presence of an artist in Goulburn in 1846 aroused considerable interest. Even more so two, the Sydney Morning Herald reporting on the activities of Backler and a ‘…Mr. Ellis, who has recently come amongst us’.2 Both painted views of Goulburn, that of Backler’s arousing much comment. Believing our painting to be the same, the newspaper reported that his landscape was ‘much admired’; but raised the matter of the railway line to Sydney, much talked about at the time. Mr Backler has:

… given us the benefit of railways by introducing a locomotive with its train, steaming along: but being too much in advance of the times, and the gentleman for whom it was painted wishing a correct representation of the town as it is, the locomotive is to be put hors de combat, which will no doubt give satisfaction to the croskers: it was painted, however, before Mr. Woore’s report appeared, but he and the artist seem both to have been of one mind as to the whereabouts the terminus should be at this end.3

Thomas Woore was a leading pastoralist near Goulburn. When the colonial government refused to have a survey undertaken for the proposed railway, Woore had possible routes investigated at his own expense. The results were reported to a meeting in Sydney in August, much in time with Backler’s painting. The subsequent government wranglings and failure of the venture became part of history, as has the painting. The topographical spread of the town is picturesquely arranged with towering gums to frame the composition, historic Georgian buildings positioned in their best view. The ‘unrivalled’ Goulburn Hotel, opened by Nathan Mandelson in 1846, is prominent in white, two-storied splendour. Mandelson had substantial interests in the same company proposed for the construction of the private railway, meetings being held in the hotel’s ballroom. Prominent among the other buildings is the Anglican Church of St. Saviour, designed by the Sydney architect, James Hume.

Crowned by a square western tower, it was built of red brick in 1840 to a characteristic English design. Replaced in 1874 by the present Gothic-styled cathedral designed by Edmund Blacket, the church’s bricks were reused in the cathedral’s floor. From Goulburn, Backler went forward to other towns, painting landscapes of Bathurst c.1847 and Tenterfield 1861, and many other portraits.4

1. ‘Goulburn’, Sydney Morning Herald, 30 August 1845, p. 1
2. ‘Goulburn. Fine Arts’, Sydney Morning Herald, Sydney, 1 September 1846, p. 2
3. ibid. The French phrase ‘hors de combat’ translates as ‘out of the fight’
4. (View of Bathurst from Victoria Cottage Farm), c.1847, oil on canvas mounted on composition board, 55 x 88.5 cm, in the collection of the Mitchell Library (ML973), State Library of New South Wales, Sydney; (View of Tenterfield), 1861, oil on canvas, 66.5 x 89 cm, private collection

DAVID THOMAS

Chevalier Nicholas 1828 – 1902view full entry
Reference: see Deutscher and Hackett auction, 18 April 2018, lot 60
NICHOLAS CHEVALIER
(1828 – 1902, Russian)
PORTRAIT OF MISS WINIFRED HUDSON AS A YOUNG GIRL, SEATED AT A PIANO, HER DOLL NEARBY, 1888
oil on canvas
122.0 x 91.5 cm
signed and dated lower left: Nicholas Chevalier 1888
inscribed on stretcher bar verso: Completed from sketches on my 60th birthday / Painted in Wellington, Auckland and Melbourne. / N. Chevalier / by sea to R.M. Hudson. / Departure port of Melbourne
ESTIMATE: 
$40,000 – 50,000
request condition report
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PROVENANCE
Commissioned by Ralph M. Hudson
Thence by descent
Major Paul I.C. Payne, United Kingdom
Tennants Auctioneers, Leyburn, United Kingdom, 19 November 2009, lot 1031
Private collection, Melbourne
EXHIBITED
Nicholas Chevalier: Australian Odyssey, Gippsland Art Gallery, Victoria, 17 September – 13
November 2011; Geelong Art Gallery, Victoria, 26 November 2011 – 12 February 2012, cat. 173
(illus. in exhibition catalogue)
CATALOGUE TEXT
Cosmopolitan, exceedingly handsome, an engaging conversationalist, Nicholas Chevalier was a singularly talented person. Brilliant linguist and gifted musician, he was noted for his works in watercolour and oil. In 1864, his large landscape, The Buffalo Ranges, was given the £200 acquisitive prize by the recently founded National Gallery of Victoria, Melbourne, thereby becoming the first painting of an Australian subject to enter the Gallery’s collection. Born in St. Petersburg, Russia, Chevalier studied painting in Lausanne and architecture in Munich. Moving to London in 1851, his diversity of interests led to exhibiting at the Royal Academy, illustrating books and designing the setting for the Koh-i-Noor diamond. By 1855, changing family fortunes saw him in Melbourne and then the Bendigo goldfields. Back in Melbourne, he soon became a very popular cartoonist with the newly founded Punch. Marrying Caroline Wilkie, a relation of Sir David Wilkie, they settled in Melbourne, where their home became a centre for the cultivated, gifted and witty.

From designing decorations for the Victorian state visit of the Duke of Edinburgh, to eventually joining the Duke on board H.M.S. Galatea on tour of the Pacific Islands and the East, Chevalier eventually returned to London. Numerous royal commissions flowed from Queen Victoria and other members of the Royal Family, while Chevalier played second violin to the Duke in the Royal Amateur Orchestral Society. Exhibiting at the Paris Salon and the Royal Academy, he continued a particular connection with Australia through his appointment, in 1882, as London advisor to the then named National Gallery of New South Wales, Sydney.

In the Antipodes, Chevalier had travelled extensively in Victoria, Australia and New Zealand, sometimes with scientific expeditions and his leading contemporary Eugene von Guérard. A foundation member of the Victorian Society of Fine Arts, Chevalier numerous landscapes in their annual expeditions, but very few portraits. The year 1860 was most unusual. While it included The Yarra above Yarra Bend and the Burke and Wills history piece, Memorandum of the Start of the Exploring Expedition 1860, now in the M. J. M. Carter Collection, Art Gallery of South Australia, Adelaide, it also featured the equestrian Portrait of Master George Holmes, (son of the owner of the Yarra Bend painting mentioned previously), together with Portrait of the Artist, (gifted years later to the Art Gallery of New South Wales, Sydney), and Portrait of a Boy.

Commencing with the grant of £200 Chevalier received from the Otago Provincial Council in 1865 to paint the scenic beauties of the area, through sketching, travelling and exhibiting widely, Chevalier maintained a strong connection with New Zealand. He likewise New Zealand subjects at the Royal Academy, London, in the years 1884 to 1886. Finally, he sent three works to the New Zealand and South Sea Exhibition at Dunedin in 1889-90. While speculation surrounds a New Zealand connection with Portrait of Miss Winifred Hudson as a Young Girl, Seated at a Piano, Her Doll Nearby, 1888, it can be observed confidently that Chevalier painted this charming Victorian piece in his sixtieth year. Miss Hudson hatted and dressed in her lace-edged fineries, her favourite doll for company, Chevalier equips the scene with visual delights, contrasting polished wood with Oriental rug, the aspidistra, symbol of Victorian middle class standing, proudly holding up its corner.

DAVID THOMAS
view full entry
Reference: see Deutscher and Hackett auction, 18 April 2018, lot
Underwood Janina (nee Czaykowska), view full entry
Reference: see David Barsby Auction 21 April, 2018, lot 711
Estimate 200.00 - 400.00 AUD
Group - Category Art & Galleries
Lead Janina Victoria Czaykowska (Poland/Australia)
Description (1887-1955), including a portfolio of artistic works, particularly Australian wildflowers, and family photographs; together with 'Kookaburra,' watercolour, with hand written caption verso: 'Painted on velvet by Janina, about 1913,' ( 29cm X 21.5cm approx);' a Portrait of a Woman, watercolour on velvet, with hand written caption verso: 'Painted by Janina on velvet. The subject was a well known Sydney lady who sat for this portrait, about 1919,' (20cm X 15.5cm approx); an early photographic portrait of a Woman. (16cm X 10cm approx); and Janina UNDERWOOD, 'Polish House,' watercolour, hand signed and titled verso by Janina Underwood (nee Czaykowska), Cosmopolitan Gallery, South Yarra, label verso. (19cm X 13cm approx).
Czaykowska Janina view full entry
Reference: see David Barsby Auction 21 April, 2018, lot 711
Estimate 200.00 - 400.00 AUD
Group - Category Art & Galleries
Lead Janina Victoria Czaykowska (Poland/Australia)
Description (1887-1955), including a portfolio of artistic works, particularly Australian wildflowers, and family photographs; together with 'Kookaburra,' watercolour, with hand written caption verso: 'Painted on velvet by Janina, about 1913,' ( 29cm X 21.5cm approx);' a Portrait of a Woman, watercolour on velvet, with hand written caption verso: 'Painted by Janina on velvet. The subject was a well known Sydney lady who sat for this portrait, about 1919,' (20cm X 15.5cm approx); an early photographic portrait of a Woman. (16cm X 10cm approx); and Janina UNDERWOOD, 'Polish House,' watercolour, hand signed and titled verso by Janina Underwood (nee Czaykowska), Cosmopolitan Gallery, South Yarra, label verso. (19cm X 13cm approx).
Colquhoun M Elizabeth 1899-1989view full entry
Reference: see Leonard Joel - ART SALON 19 Apr 2018, Lot 3005

M. ELIZABETH COLQUHOUN (1899-1989), STILL LIFE WITH BUST, OIL ON PAPER ON BOARD, 46 X 38CM
Estimate $ 200-400
Aboriginal artview full entry
Reference: Tarnanthi : festival of contemporary Aboriginal and Torres Strait Islander art. Presented by Government of South Australia, Arts SA, Art Gallery of South Australia ; principal partner, BHP Billiton.
Festival program published to accompany the inaugural Tarnanthi festival of contemporary Aboriginal and Torres Strait Islander art exhibitions, the art fair and other events held across Adelaide City from 8 October 2015.
"Exhibitions, art fair, events, 8-18 October 2015, exhibitions continue until 17 January 2016, Adelaide, South Australia" - cover.
Publishing details: Art Gallery of South Australia, 2015 
37 pages : colour illustrations, colour portraits
Ref: 1000
Bouquet Carolineview full entry
Reference: Australia elements by Caroline Bouquet artist, author. Parallel text in English and French.
Publishing details: MCCM creations, 2016 
102 pages : colour illustrations
Ref: 1000
Aboriginal artview full entry
Reference: see Marking the Infinite : Contemporary Women Artists from Aboriginal Australia, written by Henry F Skerritt. [’This book explores women artists who are at the forefront of the Aboriginal arts movement in Australia. Comprised of a series of illustrated essays, this book brings to life a wide array of artistic practices, each attempting to grapple with the most fundamental questions of existence. Written by leading art historians, anthropologists, curators, and other experts in the field, these essays provide a penetrating look at one of today’s most dynamic artistic movements.
Exhibition at Newcomb Art Museum, Tulane University, New Orleans September 2016 - January 2017
Contributors:
HENRY F. SKERRITT has written extensively on Aboriginal art and culture. TINA BAUM is Curator of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia, Canberra. ANNE MARIE BRODY was the Aboriginal art consultant to the Kerry Stokes Collection. JOHN CARTY is Head and Professor of Anthropology at the South Australian Museum. RACHEL KENT is Chief Curator at the Museum of Contemporary Art, Sydney. HOWARD MORPHY is Distinguished Professor of Anthropology in the Research School of Humanities and the Arts at the Australian National University. HETTI PERKINS is a Curatorial Advisor to Eora Journey, the City of Sydney’s Aboriginal and Torres Strait Islander public art program. CARA PINCHBECK is Curator, Aboriginal and Torres Strait Islander art at the Art Gallery of New South Wales, Sydney. SARITA QUINLIVAN has written extensively on the art of the Western Desert. ELINA SPILIA is a lawyer and arts writer with a primary research interest in Australian Indigenous art. WILL STUBBS is Director of the Buku-Larrnggay Mulka Centre at Yirrkala in North Eastern Arnhem Land. SUZETTE WEARNE is Assistant Curator at the Ian Potter Museum of Art at the University of Melbourne.
Artists:
Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Regina Pilawuk Wilson, Angeline Pwerle, Carlene West, Lena Yarinkura, Gulumbu Yunupingu, Nyapanyapa Yunupingu’]
.
Publishing details: Nevada Museum of Art, 2016, 184pp
Everton Samanthaview full entry
Reference: Indochine, exhibition invite with 1 illustration and brief essay
Publishing details: Arthouse Gallery, 2018
Ref: 1000
Beckhouse Janetview full entry
Reference: Shedding Skin, exhibition invite with 1 illustration and brief essay
Publishing details: Arthouse Gallery, 2018
Ref: 1000
Annear Judyview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, 308 pages.
Photograph in Australia view full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Allport Mortonview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
American & Australasian Photographic Companyview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Anson Brosview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Baily Henry Hallview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bardwell Williamview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Barnes Henryview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Batchelder & O’Neillview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bayliss Charlesview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bean C E Wview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Wilkins Hubertview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bear Williamview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Beattie J Wview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Beavis Brothersview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bishop Mervynview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bisson Brothersview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Blackwood Williamview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Boaks Barcroft Capelview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bock Alfredview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bock Thomasview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Boles James Mview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Boston Edwinview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Boston Thomasview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Boyd Adolarius Humphreyview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Browne Frank Styantview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Browne Thomasview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Bull & Rawlingsview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Burgin Henry Williamview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Burke Keastview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Burman Arthur Wview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Burnell Georgeview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Caire Nicholasview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Campbell J Pview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Carlisle Alexanderview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Caves Board of WAview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.
Cawston Williamview full entry
Reference: see The Photograph and Australia, Exhibition book, written by Judy Annear. Included biographies of approximately 200 photographers, timeline, list of works in exhibition, bibliography and index. [’"From its beginnings in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography was harnessed to create the idea of a nation. It reveals how Australia’s view of the world and itself has been changed by the advent of photography which paralleled the development of the colonies and the relationships between settlers and Indigenous Australians.
Taking a thematic approach, the book encourages the reader to explore connections – between different forms of photography, people and place, past and present. It features renowned artists such as Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Rosemary Laing, Tracey Moffatt, Ricky Maynard, Patrick Pound and Robyn Stacey, among many others. Their work is reproduced alongside that of unknown photographers in cartes de visite, government and family albums and, early scientific and astronomical photography.
Above all, this publication reminds the reader of the sense of wonder that the photograph can still induce with its ability to capture both things of the world and those of the imagination.
Visually rich with fine reproductions, The photograph and Australia will not only be an important addition to the scholarship on Australian photography but a valued addition to the bookshelves of photography experts, lovers of photography and history."’]

Publishing details: Art Gallery of NSW,
Hardback, dw, 308 pages. With index.


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