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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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Oliver Bronwynview full entry
Reference: see Look Magazine, article by Janet Hawley on Hannah Fink’s biography of Oliver.
Publishing details: AGNSW Socirty, Jan-Feb, 2018, p71-2
Intrepid Womenview full entry
Reference: Intrepid Women - exhibition of Australian women artists at the S. H. Ervin Gallery. Exhibition list only without biographical details
Publishing details: S. H. Ervin Gallery. 2017? 4pp
Ref: 137
Tonkin Maryview full entry
Reference: Mary Tonkin, between the dams - Australian Galleries
Publishing details: Australian Galleries, 2017,10 illustrations,
Ref: 224
Watling Thomasview full entry
Reference: see article ‘Dr John White FLS, Surgeon-General odf New South Wales: a portrait by Thomas Watling’ by E. Charles Nelson, with illustration, in Trevor Kennedy Collection, in Australiana Magazine, August 2018, vol 40, no. 3.
Publishing details: Australiana Magazine, August 2018, vol 40, no. 3.
Bourdic Marguerite Charlotte 1852-1911 china painterview full entry
Reference: see article in Australiana Magazine, August 2018, vol 40, no. 3. p7-10.
Publishing details: Australiana Magazine, August 2018, vol 40, no. 3.
jewellery with pearls in Australiaview full entry
Reference: see article ‘Moreton Bay pearls in Australian jewellery’, in Australiana Magazine, August 2018, vol 40, no. 3. p12-18
Publishing details: Australiana Magazine, August 2018, vol 40, no. 3.
Edgar Edmundview full entry
Reference: see article by Robert Stevens ‘’Edmund Edgar alias Bult’, in Australiana Magazine, August 2018, vol 40, no. 3. p20-34. Extensivley illustrated.
Publishing details: Australiana Magazine, August 2018, vol 40, no. 3.
Bult Edmund Edgarview full entry
Reference: see article by Robert Stevens ‘’Edmund Edgar alias Bult’, in Australiana Magazine, August 2018, vol 40, no. 3. p20-34. Extensivley illustrated.
Publishing details: Australiana Magazine, August 2018, vol 40, no. 3.
jewellery with opals in Australiaview full entry
Reference: see article by John Hawkins in Australiana Magazine, May 2018, vol 40, no. 2. p22-31
Publishing details: Australiana Magazine, Australiana Magazine, May 2018, vol 40, no. 2
Braithwaite Joannaview full entry
Reference: Birdland, exhibition at Martin Browne Contemporary, with biographical information. All works illustrated.
Publishing details: Martin Browne Contemporary, 2018, 20pp with price list
Ref: 224
Doig Adrienneview full entry
Reference: Extra, exhibition at Martin Browne Contemporary, no biographical information. All works illustrated.
Publishing details: Martin Browne Contemporary, 2018,
Ref: 224
Tuckson Tonyview full entry
Reference: see Look Magazine, ‘A line od abstraction’, article by Denise Mimmocchi
Publishing details: AGNSW Socirty, Nov-Dec., 2018, p44-50
Watters Galleryview full entry
Reference: see Look Magazine, ‘We’ve always done what we wanted’. article by Steve Meacham
Publishing details: AGNSW Socirty, Nov-Dec., 2018, p44-50
Watson Judyview full entry
Reference: see Look Magazine, article by
louise Martin-Chew
Publishing details: AGNSW Socirty, Nov-Dec., 2018, p44-50
Cook James voyages - complete prints and mapsview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Parkinson Sydneyview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Webber Johnview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Hodges Williamview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Sporing Hermanview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Barralet John Jamesview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Miller John Frederickview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Forster Johann Georgeview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Roberts Jamesview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Whitchuch Williamview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Bligh Williamview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Cipriani Giovanni Battistaview full entry
Reference: James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.
Kelly Harryview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Harry Kelly (Aust., 1896­1967).| Tasmania, Australia, For The Angler,| c1935.| Colour lithograph, signed in image upper left, 100.5 x 76.1cm.

Publishing details: Josef Lebovic Gallery, 2018, 32pp

Myers Valiview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Vali Myers (Aust., 1930­2003).| Vali [The Witch Of Positano],| 1965.| Colour process lithograph, signed in image lower right, 72.4 x 51cm. Repaired tears and missing portions. Linen-backed.|
$1,450| Text continues “A film by Sheldon and Diane Rochlin. Starring Vali Myers & Rudi Rappold. Released by the Filmmakers Distri­
bution Centre.”
Vali Myers was an Australian artist, dancer, bohemian and muse during the 1950s and 1960s in Europe and the United States. A “flamboyant fantasy artist”, Myers worked in pen and ink and watercolour as well as being a nightclub dancer. She divided her life between her adopted home of Melbourne, the Hotel Chelsea in New York City, Paris, and a 14th century cottage in a valley near Positano, Italy. She was acquainted with many celebrities including Tennessee Williams, Salvador Dalí, and Jean Cocteau. Ref: Wiki.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Counihan Noelview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Noel Counihan (Australian, 1913­1986).| The Broadsheet 6: A Time For Peace,| 1970.| Linocut with letterpress, editioned 705/1000 in ink below image, 63.4 x 50.9cm. Old folds, slight stains. Linen-backed.|
$1,250| Text includes “for the Vietnam Moratorium, 8­9­10 May, 1970. Linocut: Noel Counihan. May, 1970. The sixth of a series of broadsheets on contemporary issues. Each is a limited edition, printed from the artists’ blocks. Published by A. Turner for Broadsheet Publishers, 205 Lennox St, Richmond, 3121. Printed by Fraser & Jenkinson, Pty Ltd, 263 Spencer Street, Melbourne. 50 cents.” Ref: Smith #83, noting “the linocut was printed in
purple, though Counihan had intended it to be printed black.”
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Broadsheet Theview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Noel Counihan (Australian, 1913­1986).| The Broadsheet 6: A Time For Peace,| 1970.| Linocut with letterpress, editioned 705/1000 in ink below image, 63.4 x 50.9cm. Old folds, slight stains. Linen-backed.|
$1,250| Text includes “for the Vietnam Moratorium, 8­9­10 May, 1970. Linocut: Noel Counihan. May, 1970. The sixth of a series of broadsheets on contemporary issues. Each is a limited edition, printed from the artists’ blocks. Published by A. Turner for Broadsheet Publishers, 205 Lennox St, Richmond, 3121. Printed by Fraser & Jenkinson, Pty Ltd, 263 Spencer Street, Melbourne. 50 cents.” Ref: Smith #83, noting “the linocut was printed in
purple, though Counihan had intended it to be printed black.”
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Little Colinview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Colin Little (Aust., 1952­1982).| Down To Earth,| 1976.| Colourscreenprint,“EarthworksPoster Collective” logo and date in image lower right, 58.5 x 45.4cm. Repaired missing portions to edges, paper
loss, discolouration. Linen-backed.
$990| Text includes “A festive conference of diverse life styles/ strategies/workshops/living. A shaping of alternatives: Dec. 10­14th. Getting it together: Dec. 1­10th. Cotter River,
ACT.” Held in NGA.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Robertson Toniview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Toni Robertson (Aust., b.1953).| Where Do Correct Ideas Come From?,| 1977.| Colour screenprint, “Earthworks Poster Collective” logo with date “June ‘77” in image lower right, 50.9 x 75.8cm. Creases
and missing portions to upper edge of
margin, minor crinkles.|
$1,750| Text continues “Do they drop from the skies? No. Are they innate in the mind? No. They come from social practice. Pure theory, pure shit. Egghead feminists and other useless theorists get fucked! A cultural image from the legendary past. Tall tales & true for the Marxism Feminism
Conference.” Held in SLNSW.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Stewart Jeffview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Jeff Stewart (Aust., b.1950).| Black Libera- tion Concert,| 1976.| Colour lithograph, annotated in ink on image upper right, 56 x 43.9cm. Pinholes, slight discolouration, minor creases. Linen-backed.|
$1,850| Text includes “Total eclipse of the sun. Sat., October 23, 4.30pm. Jo Jo Zep, Matchbox, Millionaires, Skyhooks, African & Aboriginal musicians & dancers. Latrobe Uni. (new) Union Hall. All proceeds to aid the Aboriginal Land Rights Movement and the African Freedom Fund.” Annotation reads “Jeff Stewart, 5 Parliament St., Nth
Brighton [Vic].” Held in MAAS.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Callaghan Michaelview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Michael Callaghan (Aust., 1952­
Text continues “|Dark, A Calendar of Dreaming, Malbangka Country, The Sons of Namatjira, Ningla- a-na, We Stop Here, Protected, Aboriginal Family Education, Tjintu-Pakani, Backroads, Uluru, Lalai
Dreamtime, Floating|.” Held in NGA; Museum of Applied Arts & Sciences.
93.|
2012).| Films On Black Australia,| 1978.| Colour screenprint, “Earthworks Poster Collective” logo in image lower left, 50.8 x 75.6cm. Creases, minor tears to edges, slight glue stains. Linen-backed.|
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Mackay Janview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Jan Mackay (Australian, b.1950).| Women Propose — A New Feminist Cinema,| 1978.| Colour screenprint, 57.2 x 76.7cm. Slight crazing, stains, repaired perforations. Linen-backed.|
$1,650| Text includes “2 programmes: ‘It’s not a bed of roses’, Nov. 24 – Dec. 3. Films on body image, fashion & romance, rape, prison. ‘With babies and banners’, Dec. 8 – Dec. 17. Films on marriage, motherhood, childcare, work & change. A season of recent films by Australian women. Filmmakers Cinema, St Peters Lane,
Darlinghurst [Sydney].” Held in NGA.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Lane Leoniview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Leonie Lane (Aust., b.1955).|
Union Benefit Dance,| 1980.| Colour screenprint, “Lucifoil Poster Collective” studio line and date in image centre right, 90.6 x 57.8cm.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Foy Johnview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Colour screenprint,
22
John Foy (Aust., b.1958).
123.|
“Flashes From The Archives”,| c1983.|
print, inscribed and autographed by John Cooper Clarke in ink on image lower right, 76.1 x 51.1cm. Repaired creases and missing portions, old tape stains. Linen-backed.| and John Foy (Aust., b.1958).| The Return Of John Cooper Clarke,| 1983.| Colour screenprint, monogrammed with “Skull Printworks” studio line in image lower left and centre, 76.2 x 50.8cm.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Bropho Robertview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Robert Bropho (Australian, 1930­2011).| “Munda Nyuringu.” A Film Made By Aboriginal Fringedwellers In The Goldfields Of WA,| 1984.. Colour screenprint,
Text includes “He’s taken the land, he believes it is his, he won’t give it back. Distribution: Jan Roberts, Impact Investigative Media Productions, 28 McGregor St, Fairfield, Victoria. Information: Robert Bropho/Swan Valley Fringedwellers, c/­ Post Office, Guildford, WA
|
6055.” Held in NGA.
|Munda Nyuringu| is a documentary “about the impact of the Kalgoorlie gold rush on the Aboriginal people in the region, [who] tell their own story of what happened to their people when they were invaded by tens of thousands of miners in the great Kalgoorlie gold rush in the 1890s. The film shows the living conditions of the survivors living in horrific poverty next to flourishing gold and nickel mines and uranium developments, and of the Maralinga tests and those who died there.” Ref: NFSA.
129.|
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Young Rayview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Ray Young (Aust., 1951­2009).| The First National Aboriginal Art Award,| 1984.| Colour screenprint, “Redback Graphix” logo in image lower left, 75.7 x 51.1cm.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Arkley Howardview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: Howard Arkley (Aust., 1951­1999).| The Triffids [Band],| 1985.| Colour process lithograph, signed and dated in image lower right, 100.5 x 71.5cm. Repaired missing portions and
tears, old glue stains, slight foxing. Linen-backed. Text includes “Farewell concert & Aust. Centre for Contemporary Art Benefit, Seaview Ballroom, St. Kilda, Wed., March 6. Supported by Huxton Creepers & King Jerklews. Featuring videos by Randelli ‘Love Stories.’ The ACCA is supported by the Ministry for Arts and the Visual Arts Board of the
Aust. Council. Painting by Howard Arkley, design by Terence Hogan.”
The Triffids were an Australian alternative rock and pop band, formed in
Perth in Western Australia in May 1978. They achieved some success
in Australia, but greater success in the UK and in Scandinavia in the 1980s before disbanding in 1989. “[Howard] Arkley’s poster dates from the group’s brief visit to Australia early in 1985, shortly before returning to London to record their acclaimed album |Born Sandy Devotional|.” Ref: Wiki; Arkley Works.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Mambo artistsview full entry
Reference: see Josef Lebovic Gallery Collectors’ List No. 193, 2018: |MamboCollection,| c1985­2000.| Thirty(30). Artists include Reg Mombassa (x 9), David McKay (x 4), Jim Mitchell (x 2), Richard Allan (x 5), Steve Bliss (x 1), Jeff Raglus (x 1), Maria Kozic (x 2), Marcelle Lunam (x 1), and Rockin’ Jelly Bean (x 2). The posters cover a broad range of events, from art openings to surf competitions, as well as advertisements
for their clothing lines (including Mambo Goddess), many while commenting on tropes of ‘Australianisms’. Mambo Graphics was founded in 1984 by Dare Jennings and Andrew Rich as a backyard business screen printing T­shirts relating to surf culture. The brand has come to be known for their “irreverent combination of art, humour, music and surf.” The artists and graphic designers they commissioned were “anarchic and acerbic, they launched inspired anti­establishment ideas, they could draw, they were convinced of their own brilliance and they were unafraid...Its artists and wordsmiths egged each other on, picking the pompous and elevating the everyday into mock heroic eminence.” Ref: Waldren, |The Life and Times of Reg Mombassa|, 2009, p219; NGV; MAAS. A detailed list is available upon request.
Publishing details: Josef Lebovic Gallery, 2018, 32pp

Elyard Samuelview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: Samuel Elyard (Aust., 1817-1910).| Overlooking Terara, South Coast [Nowra, NSW],| 1862.| Watercolour, annotated and dated in pencil on image upper left, typed label attached to frame verso, 31.2 x 51.8cm. Slight foxing to image upper left. Framed.|
$2,650| Annotation includes “blend colours yellow into gold.” Typed label includes “October 1862. (Terara was the old name for Nowra). On the back of the watercolour is written ‘this watercolour was painted
by my great uncle Samuel Elyard of Nowra.’ (signed) R. Elyard, Thirroul.”
Samuel Elyard “became an artist at an early age, painting street scenes, picturesque buildings and landscapes in and around Sydney while working as a clerk in the Colonial Secretary’s Office. When he retired from the public service in 1868 he settled at Nowra where his family had long been landholders. Several of his paintings of scenery around Nowra were exhibited with the NSW Academy of Art in the 1870s and he later exhibited in local shows and exhibitions.” Ref: SLM.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Thorne Rosalie Ann 1850-1927view full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: 27.|
The Flying Squadron Anchored Between Middle And North Heads [Sydney Harbour],| 1869.| Pencil drawing, captioned and dated “13/12/69” lower right, 17.5 x 25.4cm. Rosalie Ann Thorne was reputedly a pupil of Conrad Martens. She was a friend of his daughter, Rebecca Martens (Aust.,1836-1909), who was also her mentor. The two often went sketching together.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Whiter G Wview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: “Wanganui” [Clipper Ship],| c1880s.| Watercolour with gouache, signed “G.W. Whiter” in pencil lower left, titled in ink in another hand on original accompanying label mounted below image, 43.2 x 59cm. Minor paper loss to image edges.|
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Sharkey Johnview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: John Sharkey (Aust., c1833-1898).| Palm­thatched Cottage, Lord Howe Island,| 1882.| Albumen paper photograph, annotated “no. 12” in negative lower right, captioned “Lord Howe Island” and dated in pencil on backing verso, 22.7 x 28.7cm. Minor paper loss to image edges and centre, slight foxing, laid down on original backing.|
$1,950| Depicts an aboriginal woman in western dress holding the lead of a bull. Illustrated in Wilson, |Report of the Present State and Future Prospects
of Lord Howe Island,| 1882, p13.
John Sharkey, the first official NSW government photographer (from 1869 to 1896), was part of the 1882 scientific expedition to Lord Howe Island led by politician John Bowie Wilson. Sharkey’s photographs are the earliest known of the island and its residents. Ref: G. Newton & P. Costigan,
Photo-web; University of California.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Kennedy L Jview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: 93.| |“Wallaroo” [Steam Ferry, Sydney Harbour],| 1904.| Watercolour with gouache, signed “L.J. Kennedy” and dated in ink on image lower right, 45.3 x 65.1cm.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Scott Robert Vereview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: Robert Vere Scott (Aust., 1877-1940).| The Basin, Bondi Coast [NSW],| c1905.| Vintage silver gelatin photograph, panorama, titled with photographer’s line in negative lower left, 23.1 x 56.9cm.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Atkinson Ethelview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: Ethel Atkinson (Aust., 1887- 1991).| Design For Wall Covering [and another] Pair of watercolour friezes attached to wooden battens, one captioned, signed and dated “April 1907” above and below image, the other captioned and signed below image, both annotated in ink verso, 142.9 x 67.7cm; 45.8 x 101.3cm (images). Slight foxing, pinholes and minor tears to edges, crinkles.| The pair $3,950| Annotation verso reads “Class 30A [or] 30B. Price [5] guineas. Ethel Atkinson, ‘Braeside’, Rae Street, Randwick, Sydney.” One design uses a motif of daffodils, and the other depicts two waratahs and jasmine flowers flanking a clam shell.
Ethel Atkinson was a potter, leather worker, china painter and designer who joined the Arts and Crafts Society of NSW in 1910. She exhibited with the Women’s Industrial Arts Society and established the Ceramic Art Studio with fellow potter Ada Newman circa 1916. Ref: DAAO.

Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Trompf Percyview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: 132.| Percy Trompf (Aust., 1902-1964).| [Winter Tree],| c1930s.| Oil on canvas, signed lower right, 61.1 x 45.6cm. Minor scuffing to edges, slight stains upper left.| $2,950|
Oil paintings by Trompf rarely appear in the market.
Victorian-born, Percival Albert (Percy) Trompf studied at the Ballarat Technical Art School, later joining Giles & Richards in Melbourne, where he designed chocolate boxes for A.W. Allen P/L. From his studio at Little Collins Street, Trompf designed advertising posters commissioned by prominent clients including Palmolive Co. Ltd, and |Walkabout| magazine. His posters for the Australian National Travel Association and the Victorian Government Railways received widespread recognition for their “bright, colourful, optimistic” images. Ref: ADB.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Whitford Wview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: Collection Of Australian Illustrations On Envelopes,| 1935-1942.| Twenty (20) watercolours with ink on envelopes, all but one addressed to “Tom Whitford” and postmarked, all captioned and one image signed “W.
Whitford” in ink lower centre, 9 x 14.5cm (approx.
each). Slight foxing and minor tears.|
The collection $1,950|
Each envelope is addressed to “Mr or Master Tom Whitford, Railside, Railway Parade, Springwood, NSW” and were posted from Sydney, Petersham, South Annandale, and “Westgate [Annandale]”, NSW. Dates range from “30 Dec. 1935” to “29 Jan. 1942.” Envelope illustrations include birds, cats and dogs; the flags of Britain, Czechoslovakia, and Finland; and Australian soldiers in uniform with captions such as “Australia’s Tank Corps will be there!” and “A job in Palestine! A coldstream guardsman at Jerusalem.”
This group of amateur watercolours are unusual, being painted on the face of envelopes. Twelve of the envelopes were posted during WWII.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Tyson Bettyview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: 143.| |[Sketches By An Australian Schoolgirl],| c1939-1942.| Comprising of approx. 108 pencil and watercolour illustrations over four notebooks, all annotated “Betty Tyson”, some addressed “7 Malacoota Road, Northbridge [NSW]”, and some images dated “28.12.39”, “31.1.40” or “4.4.42”, sizes from 20.5 x 16.4cm to 18.1 x 25cm. Minor tears and stains to covers, some pages loose from binding.| These notebooks by Betty
Tyson provide a rare insight into the inner world of an Australian teenage girl. They include drawings and comments concerning her friends and classmates; illustrations to short stories on “the pupils of class 1A, St Elizabeth’s, Sydney [fictitious school]” and the “prefects of 1942.” The notebooks include a page entitled “the wedding group”, detailing fashion worn by each person; plans for a house and examples of decorated rooms; and portraits of friends’ future families such as “Ada’s child,
1972” and “Jemima’s child, 1984.”
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Tours S ?view full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: |Canonbar Station, Miowera, NSW [Near Nyngan],| c1960s.| Gouache on wood relief carving, signed “S. Tours[?]” lower right, captioned in ink verso, 17.5 x 41.4cm.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Gibson Jackview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: 152.| Jack Gibson (Aust., 1904-1980).| “Was Invited To A Neck Tie Party, But They Didn’t Say Whose Neck!” [‘Hell’ Series],| c1961.| Pen and ink with graphite and white highlight, signed lower left, captioned in ink with publishing annotations and |Man| magazine stamp with date “March ’61, (‘Hell’), F19672” verso, 37.2 x 54.5cm. Cartoonist Jack Gibson was “one of the true Bohemians of the old Kings Cross – a member of the hard-working, hard-drinking group of journalists and cartoonists who haunted [Sydney’s Kings] Cross.” He illustrated for several publications including |Man,| a men’s magazine. From the 1940s until 1974 Gibson “drew madly intricate monthly cartoons for set in Hell” which almost always depicted a new arrival in, with a comic blockline explaining how they got there. Ref: DAAO; CB&M; SMH 24.11.2010.
“Gibson’s son, the cartoonist and illustrator John Jensen of London, has the only known extantoriginal ‘Hell’ cartoon.” Ref: DAAO.
SMH
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Broadhurst Florenceview full entry
Reference: see Josef Lebovic Gallery Collectors List, No. 194, 2018 Australian & International Medley: 152.| 161.| Florence Broadhurst (Aust., 1899-1977).| Water­ fall Gardens [Fabric],| c1960s/2000s.| Screenprint on cotton, design title and studio printed along selvage, 205 x 147cm. |
$990| Text reads “‘Waterfall Gardens’, a Florence Broadhurst design,
printed by Signature Prints, Sydney, Australia.”
Florence Broadhurst was an Australian wallpaper and textile designer, whose work is known for its brightly coloured geometric shapes and nature-inspired oversized designs. She was a foundation member of the Art Gallery Society of NSW and a member of the Society of Interior Designers of Australia. Ref: Wiki; ADB.
Publishing details: Josef Lebovic Gallery, Nov., 2018, 32pp

Furnitureview full entry
Reference: An Introduction to Western Australian Colonial Furniture, by Leslie Lauder & Mark Howard. [About 40 works illustrated, no biographical information on furniture makers].

Publishing details: Published by: Lauder & Howard Perth, 1988 Paperback, 85pp
Western Australian Colonial Furniture,view full entry
Reference: see An Introduction to Western Australian Colonial Furniture, by Leslie Lauder & Mark Howard. [About 40 works illustrated, no biographical information on furniture makers].

Publishing details: Published by: Lauder & Howard Perth, 1988 Paperback, 85pp
McKenzie Alexanderview full entry
Reference: Alexander McKenzie - Seen Across the WaterFully illustrated.
Publishing details: Martin Browne Contemporary, 2018, pb, 36pp, price list inserted
Ref: 224
Boulter Michayeview full entry
Reference: Shelter - exhibition invite with brief essay
Publishing details: Arthouse Gallery, 2018, 2pp
Ref: 224
Green Mike & Janetview full entry
Reference: Alice and Beyond - Recent paintings by Janet and Mike Green. Lauraine Diggins catalogue
Publishing details: Lauraine Diggins , 2018, 8pp. Price list.
Ref: 137
Baudin Expedition artview full entry
Reference: Deutscher & Hacket auction, Melbourne, 28 November 2018. Highly Important Works of Art from the Baudin Exhibition (1800 – 1804), LOTS 1 - 13, in association with Hordern House - 28 November 2018. With biographies of artists and bibliography.
Catalogue details of lots:

1
CHARLES-ALEXANDRE LESUEUR
CASES DE LA TERRE DE LEWIN (GÉOGRAPHE BAY, W.A.), probably June 1801
pen and ink and graphite on laid paper
a framing mount of blue-grey paper applied over the paper sheet
98 x 175 mm (image)
158 x 235 mm (sheet)
ESTIMATE: 
$200,000 – 300,000
Sold for $292,800 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

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

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

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

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

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

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

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

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

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

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

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

13
NICOLAS-MARTIN PETIT
RECTO: NOUVELLE HOLLANDE … MASSACRE D’UNE FEMME PAR LES SAUVAGES (ABORIGINAL WOMAN BEING COMPETED FOR BY TWO RIVAL GROUPS OF ABORIGINAL MEN, WITH FIVE FIGURES ON THE LEFT AND FOUR ON THE RIGHT), prior to 1804
pen and ink on laid paper watermarked “Bugden 1801”
217 x 332 mm (sheet, irregular)
Private sale
View
Publishing details: Deutscher & Hackett in association with Hordern House, 2018, pb, 81pp
Petit Nicolas-Martinview full entry
Reference: see Deutscher & Hacket auction, Melbourne, 28 November 2018. Highly Important Works of Art from the Baudin Exhibition (1800 – 1804), LOTS 1 - 13, in association with Hordern House - 28 November 2018. With biographies of artists and bibliography.
Catalogue details of lots:
1
CHARLES-ALEXANDRE LESUEUR
CASES DE LA TERRE DE LEWIN (GÉOGRAPHE BAY, W.A.), probably June 1801
pen and ink and graphite on laid paper
a framing mount of blue-grey paper applied over the paper sheet
98 x 175 mm (image)
158 x 235 mm (sheet)
ESTIMATE: 
$200,000 – 300,000
Sold for $292,800 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

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

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

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

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

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

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

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

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

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

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

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

13
NICOLAS-MARTIN PETIT
RECTO: NOUVELLE HOLLANDE … MASSACRE D’UNE FEMME PAR LES SAUVAGES (ABORIGINAL WOMAN BEING COMPETED FOR BY TWO RIVAL GROUPS OF ABORIGINAL MEN, WITH FIVE FIGURES ON THE LEFT AND FOUR ON THE RIGHT), prior to 1804
pen and ink on laid paper watermarked “Bugden 1801”
217 x 332 mm (sheet, irregular)
Private sale
View
Publishing details: Deutscher & Hackett in association with Hordern House, 2018, pb, 81pp
Leseuer Charles Alexandreview full entry
Reference: see Deutscher & Hacket auction, Melbourne, 28 November 2018. Highly Important Works of Art from the Baudin Exhibition (1800 – 1804), LOTS 1 - 13, in association with Hordern House - 28 November 2018. With biographies of artists and bibliography.
Catalogue details of lots:
1
CHARLES-ALEXANDRE LESUEUR
CASES DE LA TERRE DE LEWIN (GÉOGRAPHE BAY, W.A.), probably June 1801
pen and ink and graphite on laid paper
a framing mount of blue-grey paper applied over the paper sheet
98 x 175 mm (image)
158 x 235 mm (sheet)
ESTIMATE: 
$200,000 – 300,000
Sold for $292,800 (inc. BP) in Auction 56 - 28 November 2018, Melbourne
View

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

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

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

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

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

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

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

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

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

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

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

13
NICOLAS-MARTIN PETIT
RECTO: NOUVELLE HOLLANDE … MASSACRE D’UNE FEMME PAR LES SAUVAGES (ABORIGINAL WOMAN BEING COMPETED FOR BY TWO RIVAL GROUPS OF ABORIGINAL MEN, WITH FIVE FIGURES ON THE LEFT AND FOUR ON THE RIGHT), prior to 1804
pen and ink on laid paper watermarked “Bugden 1801”
217 x 332 mm (sheet, irregular)
Private sale
View
Publishing details: Deutscher & Hackett in association with Hordern House, 2018, pb, 81pp
Williams W Jview full entry
Reference: W. J. Williams: art decorator of Ayers House, North Terrace, Adelaide, article by Andrew Montana in Australiana Magazine, November 2018, vol 40, no. 4. p 5-14.
Publishing details: Australiana Magazine, Australiana Magazine, November 2018, vol 40, no. 4
Wright Thomas silversmithview full entry
Reference: see article by Geoff Laurenson in Australiana Magazine, November 2018, vol 40, no. 4. p 16-20
Publishing details: Australiana Magazine, Australiana Magazine, November 2018, vol 40, no. 4
Golley Alice Maud wood carver and painterview full entry
Reference: see article Jodie Vanderpeer in Australiana Magazine, November 2018, vol 40, no. 4. p 24-33
Publishing details: Australiana Magazine, Australiana Magazine, November 2018, vol 40, no. 4
With heart & handview full entry
Reference: With heart & hand : art pottery in Queensland 1900-1950 / authors: Dianne Byrne, Glenn R. Cooke, Sheila Gould, Timothy Roberts.

[’With heart & hand : art pottery in Queensland 1900–1950' is the most comprehensive survey of the art pottery produced in an Australian state. It includes over one hundred potters from Brisbane and regional areas, whose practices during the early twentieth century significantly influenced art and craft movements throughout Australia.The exhibition takes as its nucleus the work of pioneering artist Lewis Jarvis (L.J.) Harvey, his students, and the distinctive style that became a hallmark of what is now known as the Harvey School. Harvey’s teaching method was firmly grounded in the British Arts and Crafts Movement, which advocated the revival of hand-production methods. His pottery classes, initiated in 1916 at the Central Technical College in Brisbane, operated for over thirty years and encouraged students to work local clays by hand, a distinct and purposeful alternative to factory-made household items during a period of burgeoning mass manufacture. Harvey’s method was unique globally, and attracted the attention of Vi Eyre, Nell McCredie, and Annie Mitchell, who became prominent practitioners and who transferred his influence interstate.This project has uncovered the significant number of women who were practising during the period, many of whom were overlooked by past research or credited as hobbyists or “unknown” creators. Though at the time they were rarely regarded as professional artists, these women were vitally important to the development and appreciation of the pottery medium in the early twentieth century. Harvey encouraged the women in his school beyond amateur status: he collected pieces by his leading students, found opportunities for them to exhibit and sell their works professionally, and encouraged them to exhibit nationally." -- Griffith Art Museum website, viewed 31 October 2018.
Full contents • Foreword
• 1. Harvey : the inspiration / Glenn R. Cooke
• 2. The development and character of the Harvey School / Glenn R. Cooke
• 3. Circling the centre : art pottery in regional Queensland / Glenn R. Cooke
• 4. Distant satellites : Harvey's influence in Australia / Glenn R. Cooke
• 5. Clem Ainslie : fidelity / Timothy Roberts
• 6. Agnes Barker and Queensland clays / Glenn R. Cooke
• 7. Nell and Alice Bott and the Birtle Studios / Glenn R. Cooke
• 8. Evelyn Buggy : a daughter's tribute / Sheila Gould
• 9. The Caarnarvon Ceramic College and the 1950s / Glenn R. Cooke.’]

[to be indexed]
Publishing details: South Bank, Queensland : Griffith University Art Museum, 2018 
©2018 
255 pages : illustratoins, portrait
Ref: 1009
pottery in Australiaview full entry
Reference: see With heart & hand : art pottery in Queensland 1900-1950 / authors: Dianne Byrne, Glenn R. Cooke, Sheila Gould, Timothy Roberts.

[’"'With heart & hand : art pottery in Queensland 1900–1950' is the most comprehensive survey of the art pottery produced in an Australian state. It includes over one hundred potters from Brisbane and regional areas, whose practices during the early twentieth century significantly influenced art and craft movements throughout Australia.The exhibition takes as its nucleus the work of pioneering artist Lewis Jarvis (L.J.) Harvey, his students, and the distinctive style that became a hallmark of what is now known as the Harvey School. Harvey’s teaching method was firmly grounded in the British Arts and Crafts Movement, which advocated the revival of hand-production methods. His pottery classes, initiated in 1916 at the Central Technical College in Brisbane, operated for over thirty years and encouraged students to work local clays by hand, a distinct and purposeful alternative to factory-made household items during a period of burgeoning mass manufacture. Harvey’s method was unique globally, and attracted the attention of Vi Eyre, Nell McCredie, and Annie Mitchell, who became prominent practitioners and who transferred his influence interstate.This project has uncovered the significant number of women who were practising during the period, many of whom were overlooked by past research or credited as hobbyists or “unknown” creators. Though at the time they were rarely regarded as professional artists, these women were vitally important to the development and appreciation of the pottery medium in the early twentieth century. Harvey encouraged the women in his school beyond amateur status: he collected pieces by his leading students, found opportunities for them to exhibit and sell their works professionally, and encouraged them to exhibit nationally." -- Griffith Art Museum website, viewed 31 October 2018.
Full contents • Foreword
• 1. Harvey : the inspiration / Glenn R. Cooke
• 2. The development and character of the Harvey School / Glenn R. Cooke
• 3. Circling the centre : art pottery in regional Queensland / Glenn R. Cooke
• 4. Distant satellites : Harvey's influence in Australia / Glenn R. Cooke
• 5. Clem Ainslie : fidelity / Timothy Roberts
• 6. Agnes Barker and Queensland clays / Glenn R. Cooke
• 7. Nell and Alice Bott and the Birtle Studios / Glenn R. Cooke
• 8. Evelyn Buggy : a daughter's tribute / Sheila Gould
• 9. The Caarnarvon Ceramic College and the 1950s / Glenn R. Cooke
Publishing details: South Bank, Queensland : Griffith University Art Museum, 2018 
©2018 
255 pages : illustratoins, portrait
pottery in Queenslandview full entry
Reference: see With heart & hand : art pottery in Queensland 1900-1950 / authors: Dianne Byrne, Glenn R. Cooke, Sheila Gould, Timothy Roberts.

[’"'With heart & hand : art pottery in Queensland 1900–1950' is the most comprehensive survey of the art pottery produced in an Australian state. It includes over one hundred potters from Brisbane and regional areas, whose practices during the early twentieth century significantly influenced art and craft movements throughout Australia.The exhibition takes as its nucleus the work of pioneering artist Lewis Jarvis (L.J.) Harvey, his students, and the distinctive style that became a hallmark of what is now known as the Harvey School. Harvey’s teaching method was firmly grounded in the British Arts and Crafts Movement, which advocated the revival of hand-production methods. His pottery classes, initiated in 1916 at the Central Technical College in Brisbane, operated for over thirty years and encouraged students to work local clays by hand, a distinct and purposeful alternative to factory-made household items during a period of burgeoning mass manufacture. Harvey’s method was unique globally, and attracted the attention of Vi Eyre, Nell McCredie, and Annie Mitchell, who became prominent practitioners and who transferred his influence interstate.This project has uncovered the significant number of women who were practising during the period, many of whom were overlooked by past research or credited as hobbyists or “unknown” creators. Though at the time they were rarely regarded as professional artists, these women were vitally important to the development and appreciation of the pottery medium in the early twentieth century. Harvey encouraged the women in his school beyond amateur status: he collected pieces by his leading students, found opportunities for them to exhibit and sell their works professionally, and encouraged them to exhibit nationally." -- Griffith Art Museum website, viewed 31 October 2018.
Full contents • Foreword
• 1. Harvey : the inspiration / Glenn R. Cooke
• 2. The development and character of the Harvey School / Glenn R. Cooke
• 3. Circling the centre : art pottery in regional Queensland / Glenn R. Cooke
• 4. Distant satellites : Harvey's influence in Australia / Glenn R. Cooke
• 5. Clem Ainslie : fidelity / Timothy Roberts
• 6. Agnes Barker and Queensland clays / Glenn R. Cooke
• 7. Nell and Alice Bott and the Birtle Studios / Glenn R. Cooke
• 8. Evelyn Buggy : a daughter's tribute / Sheila Gould
• 9. The Caarnarvon Ceramic College and the 1950s / Glenn R. Cooke.’]

Publishing details: South Bank, Queensland : Griffith University Art Museum, 2018 
©2018 
255 pages : illustratoins, portrait
Campi J & A frame maker etcview full entry
Reference: see article by John Hawkins in Australiana Magazine, November 2018, vol 40, no. 4. p 38-42
Publishing details: Australiana Magazine, Australiana Magazine, November 2018, vol 40, no. 4
Cook Captain statueview full entry
Reference: see article ‘The Captain Cook Silver Statuette’ by Yvonne Barber in Australiana Magazine, November 2018, vol 40, no. 4. p 43-6
Publishing details: Australiana Magazine, Australiana Magazine, November 2018, vol 40, no. 4
Woolner Thomasview full entry
Reference: see article ‘The Captain Cook Silver Statuette’ by Yvonne Barber in Australiana Magazine, November 2018, vol 40, no. 4. p 43-6
Publishing details: Australiana Magazine, Australiana Magazine, November 2018, vol 40, no. 4
Kerr William 1836-1896 silversmith and sculptorview full entry
Reference: see article ‘The Captain Cook Silver Statuette’ by Yvonne Barber in Australiana Magazine, November 2018, vol 40, no. 4. p 43-6
Publishing details: Australiana Magazine, Australiana Magazine, November 2018, vol 40, no. 4
Loureiro Vascoview full entry
Reference: see reference to his WW1 caricatures in SL - State Library of NSW Magazine, Summer, 2018, p9, (collection in SLNSW)
Publishing details: SL - State Library of NSW Magazine, Summer, 2018
Smyth Arthur Bowesview full entry
Reference: see reference to his illustrated First Fleet Diary in SL - State Library of NSW Magazine, Summer, 2018, p9, (collection in SLNSW)
Publishing details: SL - State Library of NSW Magazine, Summer, 2018
Jones Jonathanview full entry
Reference: see article on the artist in SL - State Library of NSW Magazine, Summer, 2018, p12-5, (exhibition at SLNSW)
Publishing details: SL - State Library of NSW Magazine, Summer, 2018
Gibbs Mayview full entry
Reference: see article on the artist in SL - State Library of NSW Magazine, Summer, 2018, p37, (exhibition at SLNSW)
Publishing details: SL - State Library of NSW Magazine, Summer, 2018
Jones Lisaview full entry
Reference: see article on the artist in SL - State Library of NSW Magazine, Summer, 2018, p43, (exhibition at SLNSW)
Publishing details: SL - State Library of NSW Magazine, Summer, 2018
Whiteley Brettview full entry
Reference: see Look Magazine, article on Whiteley’s upcoming exhibition. by Ane Ryan, p32-35
Publishing details: AGNSW Socirty, Jan-Feb., 2019,
Marawill Nongirrnaview full entry
Reference: see Look Magazine, article on artist by Cara Pinchbeck, p37-41
Publishing details: AGNSW Socirty, Jan-Feb., 2019,
Tuckson Tonyview full entry
Reference: see Look Magazine, article on artist by artist Aida Tomescu, p62
Publishing details: AGNSW Socirty, Jan-Feb., 2019,
Walsh Natashaview full entry
Reference: see Look Magazine, article on artist by Susannah Smith
Publishing details: AGNSW Society, Jan-Feb., 2019,
Arnold Rayview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Bennett Gordonview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Boag Yvonneview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Bot G Wview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Bowen Deanview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Bruton Judithview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Buccanan Megview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Burgess Ruthview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Capovska Violettaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Casey Karenview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Challis Pamelaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Clutterbuck Victoriaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Coburn Johnview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Convey Sylviaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Convey Tonyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Cooper Simonview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Cordero Christineview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Craig Russellview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Crawford Marianview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Cress Fredview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Dale Pamelaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
De Vos Wimview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Denton Chrisview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Dunlop Brianview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Durre Carolineview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Duxbury Lesleyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Faerber Ruthview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Firth-Smith Johnview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Fitzgerald Mirabelview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Flynn Joview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Fogwell Dianneview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Franklin Annieview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Fransella Grahamview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Fraser Cameronview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Geier Helenview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Gilbert Kevinview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Gittoes Georgeview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Goodwin Alisonview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Gorring Jackieview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Green Kayeview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Grieve Robertview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Griffith Pamelaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Groblicka Lidiaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Gurvich Rafaelview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Haas Julieview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Hall Ritaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Hamm Treahnaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Heng Euanview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Herel Petrview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Hesterman Heatherview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Hjorth Noelaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Hodgkinson Frankview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Jones Timview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Juniper Robertview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kean Roslynview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kempf Franzview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kempson Michaelview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kennedy Helenview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
King Grahameview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
King Martinview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kjar Barbieview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Klein Deborahview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kluge-Pott Herthaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Komives Angelaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kossatz Lesview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kubbos Evaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Kuo Grahamview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Ky Carmenview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Lanceley Colinview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Latimer Bruceview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Leach-Jones Alunview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Leti Brunoview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Leveson Sandraview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Longley Dianneview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Maddock Beaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Majzner Victorview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Malone Neilview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Mann Gillianview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Mantzaris Dianeview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Marsden Davidview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Marshall Jenniferview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Martin Mandyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Martin Seraphinaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
McBurnie Ronview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
McCarthy Stephenview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
McCormick Christineview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
McDonald Dannyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
McPherson Meganview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Miller Maxview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Milojevic Milanview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Mitelman Allanview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Mosely Timview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Moynihan Dannyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Myshkin Tanyaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Nedelkopoulos Nicholasview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Neeson Johnview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Nix Katharineview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Onus Linview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Owen Alanview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Pasakos Jamesview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Payne Patsyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Peebles Graemeview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Pericles Leonview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Perrow Deborahview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Petersen Lesview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Pieper Brianview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Placek Wesview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Pollard Johnview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Pratt johnview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Rankin Davidview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Ricardo Geoffreyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Robinson Johnview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Robinson Sallyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Rooney Elizabethview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Rose Davidview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Ryrie Johnview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Sankey Olgaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Schlitz Michaelview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Schmeiisser Jorgview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Seidel Brianview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Sellbach Udoview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Senbergs Janview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Shead Garryview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Sheerer Douglasview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Shimmen Heatherview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Shinfield Garyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Sibley Andrewview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Smart Sallyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Stavrianos Wendyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Storrier Timview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Taylor Michaelview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Taylor Michael Kaneview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Thorpe Lesbiaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Tillers Imantsview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Tomescu Aidaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Tremblay Theoview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Tse Jonathanview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Tuckfield-Carrano Madeleineview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
van Riemsdyk Franview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Walker Murrayview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Wallace-Crabbe Robinview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Watson Judyview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Wei Guanview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Weiss Rosieview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Westcott Kimview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Wight Normanaview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Wilson Margaretview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Winters Michaelview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Wolseley Johnview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Wright Helenview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Zimmerman Raphaelview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Zofrea Salvatoreview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Zulumovski Veraview full entry
Reference: see Australian Printmaking in the 1990s - Artist Printmakers 1990-1995 by Sasha Grishin. Examines the work of 157 contemporary Australian printmakers, listed alphabetically with short biographical essays, exhibiting details, illustrations of works and other information on each artist. [’Dr Sasha Grishin's pioneering study examines the complex fabric of the art of printmaking in Australia today. Drawing exclusively on the work of Australian artists making prints from 1990 to 1995 he argues for a revival of interest in Australian printmaking in recent years. He identifies three principal reasons for this revival: the impact of new technologies, such as computer-manipulated images and laser prints; the impact of Australian Aboriginal prints; and the new relationship which Australian printmakers are establishing with the Asia Pacific region. Dr Grishin examines closely the activities of 157 leading Australian printmakers. For each artist he provides an overview of their work and reproduces one of their recent prints. Very few of these prints have been reproduced before and they provide a fresh insight into a vigorous art form unknown to much of the Australian art community.

Full contents: Australian Printmaking in the 1990s: Some New Beginnings; Profile of Australian Artist Printmakers; Notes Includes bibliographical references.’]
Publishing details: Craftsman House, 1997, hc, dw, 336pp
Eighteen Johnnyview full entry
Reference: see eBay listing 6.1.19: pre 1973.
It is an oil on board and measures approximately 25" wide and 21" high.
Unframed. Good condition. Signed lower left. John Eighteen was born in 1927 in Bournemouth where the Russell Cotes Museum houses some of his works.
He emigrated to Australia in 1973, sailing there with his family. His life and work intertwined his passion for all things maritime and his paintings were exhibited by the Royal Society of Marine Artists. He had considerable success as an artist in Australia.
Burke Francesview full entry
Reference: Portrait of a country - DUNN, Max (1895-1963); BURKE, Frances (1907-1994) (artist - Frances Burke designed the cover with its Aboriginal motifs)

Publishing details: The Anvil Press, 1962. Second edition. Octavo, pictorial wrappers, 15 pp,
Ref: 1000
Wherby Carla and Lisa view full entry
Reference: see ABC Art Bites program - 6 episodes: Twins and Auburn-based artists Carla and Lisa Wherby work on completing their entry to the invitation-only National Self-Portrait Prize, and examine details of their portrait that reflects a life both rich and unusual.
Publishing details: ABC TV, 2017
Ellis Captain William Wade view full entry
Reference: from Australian Art Sales Digest, January 2019: World revellers awake to the first Antipodean sleeper of the year
By Terry Ingram, on 06-Jan-2019
Barely had the embers of the last fireworks from the New Year celebrations ceased to smoulder than a sleeper of apparently considerable Antipodean interest popped up in the international salerooms.
Continuing 2018’s run of “Australasian” sleepers across the world, a portrait miniature catalogued as one of Captain James Cook’s seamen was sold at an auction at Liskeard in Cornwall for a little expected £5150 hammer price.

Continuing 2018’s run of “Australasian” sleepers across the world, a portrait miniature catalogued as one of Captain James Cook’s seamen was sold at an auction on New Years Day at Liskeard in Cornwall for a little expected £5150 hammer price.
The 9.75 in x 7.75 in miniature on wood was catalogued as “In the style of George Stubbs (1724-1806), a gilt framed 18th century oil on panel of Royal Naval seaman Captain Ellis, believed to be Captain William Wade Ellis who sailed with James Cook on the third & final voyage of HMS Discovery as Surgeon's Mate".
Ellis also drew birds and fishes during the voyage and on his return to London, wrote from memory a book about Cook: Authentic Narrative of a Voyage performed by Captain Cook and Captain Clarke in H.M.S. Resolution and Discovery during the years 1776-1780 (London, 1782). He later joined an Austrian scientific expedition and died when he fell from a mast.
The estimate on the miniature was £200 to £400 but Paul Clark of Clarks Auction Rooms in Cornwall said it led the New Year's Day sale as it was thought it might gather traction. The sale total was around hammer £18,000.
When Clark was told that there were a few Ellis’s, the name of sailor depicted in the miniature Cornwall and Devon, he agreed that was so but that its appearance had nothing to do with them. By sheer coincidence one of the most respected names in semi-retired Australian colonial librarianship is an “Ellis” but it is understood that this does not have a bearing on the surprise price.
More eyes were on the mention of George Stubbs, (1724-1806) in the cataloguing – albeit only in the style of. This should however also resound with Australians as one of the most impressive sleepers found Down Under was a painting of two foxhounds which was sold privately to the Tate Gallery London in the 1970s for around £120,000.
This was after being in the window of antique dealer Stanley Lipscombe’s windows in Castlereaqh Street for $A5000.
The immediate and specific interest to Australians of the latest find will be the sitter rather than the artist who painted the work. It appears to be “Cookiana” of considerable interest, albeit admittedly of the master mariner’s third voyage which came near to but not specifically to Australia.   
William Ellis was on Cook’s third and final voyage (1776-1780) which took Sir Joseph Bank’s living exhibit, the Hawaiian Omai back to his Pacific home. The voyage also searched for a North West Passage around northern America so there could be some Canadian interest in the sale.
Ellis (1751-1785) was himself an artist, his early work lowly regarded by some early scholars. Some argue that this is because of limited familiarity with it. He is already recognized for his importance in Australasia through presence of works in the Alexander Turnbull Library in New Zealand. The Turnbull’s interest is backed up by the Natural History Museum in London which has works by Ellis.
Ellis’s later works were long considered the best and most interesting because his transfer to the Resolution gave him a chance to learn from the artist John Webber whose portrait of Captain Cook was once in the late Australian tycoon Alan Bond’s corporate collection. He also created a considerable body did a considerable body been devoted to Ellis’s zoological drawings.
Myttonsview full entry
Reference: see Westport Auction, Westport, CT, USA, 21.1.19, lot 205, ARTS & CRAFTS HAMMERED BRASS FIRE SCREEN, With antique masted sailing vessel and waves. Acid treated color surface. Label verso: Solid brass, Myttons, Made in Australia. Dimensions: H 28" x W 36" x D 7" Condition: Verdigris in recesses. Provenance: From the estate of Susan and Eliot Black, Greenwich, CT.
Naughton Keithview full entry
Reference: obituary in Sydney Morning Herald, 9.1.1019, p34. (’Outback artist’]
Publishing details: SMH, 9.1.1019, p34.
Ref: 137
Naughton Keithview full entry
Reference: Grin & tonic by Sep Owen ; drawings by Keith Naughton

Publishing details: Kotara Fair N.S.W. : The Publishing Pear, 1995
Ref: 1000
Naughton Keithview full entry
Reference: Gerry Hatrick and friends: a lyrical look at longevity by Sep Owen ; illustrated by Keith Naughton

Publishing details: Kotara Fair, N.S.W. : Publishing Pear, 2000
Ref: 1000
Gren Nilsview full entry
Reference: see lot 67, Helmuth Stone auction,
January 20, 2019, Sarasota, FL, US Description: Nils Gren (California / Sweden, 1893 - 1940) "Honore de Balzac" Portrait Painting. San Francisco 1931 dated verso. Oil on board. Honoré de Balzac was a French novelist and playwright. The novel sequence La Comédie humaine, which presents a panorama of post-Napoleonic French life, is generally viewed as his magnum opus. With Handwritten letter to friend by artist verso. Sight size: 21 x 15 inches. Provenance: Private California Collection. In 1925 he had moved to southern California where he studied art with Stanton MacDonald-Wright. He lived in Los Angeles for only a few years before making his final move to San Francisco in the late 1920s. About 1930 he destroyed all of his earlier paintings; any works now extant are those done during the 1930s. During that period he produced lithographs for the WPA project. Gren was active in San Francisco until his death on Aug. 6, 1940. Exh: Painters & Sculptors of LA, 1926; Modern Art Society of LA, 1926; San Francisco Art Association, 1928-29; Paul Elder Gallery (SF), 1932 (solo); Oakland Art Gallery, 1932, 1934; Calif. State Fairs, 1930s; SFMA Inaugural, 1935, 1939 (solo); GGIE, 1939. In: Mission High School, SF (mural); Smithsonian Inst.; Oakland Museum.
Hope Edith Amyview full entry
Reference: see John Nicholson Auctioneers, UK, 30.1.19, lot 60, Edith Amy Hope (1870-1942) Australian/British. "Chapeau Rouge", A Lady in a French Town Square, Woodcut, Signed and Numbered 3/50 in Pencil, 8" x 10.25"..
Victorian Art Exhibition 1864-65 Theview full entry
Reference: see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Bregazzi Charles Lorenzoview full entry
Reference: Bregazzi, Charles Lorenzo, b. 1824, Derby, England, d. 15 March, 1886, Cranbourne, Vic., aged 64.
Family website; PROV databases.
Address: Sydenham Hotel, Elizabeth Street, Melbourne.
View on the Loddon, £12 (oil)
Received: 15 Dec. 1864, collected, 6 Feb. 1865.

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Burn Henryview full entry
Reference: Burn, Henry, b. c. 1807, Birmingham, d. 26 Oct. 1884, Melbourne, aged 77.
Kerr; DAAO; Graves; P. Reynolds, 'A note on Henry Burn', La Trobe Library Journal, no. 11, April, 1973.
Address: [8 Vere Street, East Collingwood].
Allegorical Picture: Temple of Hymen, 40 guineas [medium not recorded]
Sketch in Fitzroy Gardens, 12 guineas [medium not recorded]
South Entrance to Melbourne, a study, 5 guineas [medium not recorded]
Received: 15 Dec. 1864, collected, 4 Feb. 1865.
The Temple of Hymen, a watercolour, was first exhibited by Burn in 1856. It was displayed again by its new owner, L. L. Smith, at the Melbourne Public Library Loan Exhibition 1869. However, it is possible that the version for this exhibition was painted in oil, judging by the price. A painting of this title was also exhibited at 'Mr. Hyam's establishment' in 1862. The Argus gave a favourable and detailed description of it:
"The Temple of Hymen" is the subject of a painting, by Mr. Henry Burn (pupil of Stanfield), now on view at Mr. Hyam's establishment, 67 Collins-Street East, and intended for exhibition in London. The artist has sought to delineate, in allegorical fashion, the conflict of pleasure and pain incidental to an experience of "tender passion". On the right is a shelving bank, covered with handsome foliage, and bathed in sunlight. On the left are precipitous rocks and a cave disclosing a formidable-looking dragon, representing jealousy, all in deep shade. In front is a sheet of water, on which Venus appears in her car – drawn by black (!) swans and attended by graces and cupids; while an ascent, shrouded somewhat in the mist of early morning, leads to Hymen's Temple, on the steps of which are sundry votaries, awaiting the chanting of their epithalamium. The painting, both for poetic conception and artistic skill, is a credit to Mr. Burn.10


see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Calder Johnview full entry
Reference: Calder, John, b. c. 1831, Scotland, d. 1899, New Zealand, aged 68.
Kerr; DAAO; U. Platts, Nineteenth Century New Zealand Artists, Christchurch, NZ: Avon
Fine Prints, 1980; NZ Registrar of BDM.
Address: Bourke Street, Melbourne.
Gold at last, or our First Nugget £500 (oil)
Received: 13 Dec. 1864, collected, 4 Feb. 1865.
The Argus critic was quite positive about the work, but suggested that it was not finished. 'Great labour has evidently been bestowed on the picture, although not yet quite finished in details.'12 However, the Herald and the Age were both quite damning.13 The work was held up to ridicule with rather childish remarks.

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Chevalier Nicholasview full entry
Reference: Chevalier, Nicholas, b. 9 May 1828, St. Petersburg, d. 15 March 1902, London, aged 73.
Kerr; DAAO; AKL. See also their respective bibliographies.
Address: Spring Street, Melbourne.
Buffalo Ranges, Ovens District £250 (oil)
Received: 15 Dec. 1864. Later acquired by the Museum of Art.
Without doubt this was the favourite painting of the newspaper critics. The Argus stated 'Mr. Chevalier has not before painted a better or more characteristic picture . . .'14 The Herald wrote 'Our very old and well known friend, Mr. N. Chevalier, has nearly completed a magnificent picture of Victorian Scenery which we have no hesitation in saying transcends all his previous efforts'.15

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Clark Thomasview full entry
Reference: Clark, Thomas, b. 3 December 1813, London, d. 21 April 1883, South Yarra Melbourne, aged 68.
Kerr; ADB; AKL. See their bibliographies; Graves; David Thomas, 'Thomas Clark', Bulletin of the Art Gallery of South Australia, vol. 35, pp. 4-9. Peter Dowling, 'Thomas Clark: Wannon Falls and beyond', Exhibition Catalogue, Hamilton Art Gallery (forthcoming, 2013).
Address: Southey Street, St. Kilda.
Ulysses & Diomedes, Capturing the Horses of Rhesus £200 (oil)
Portrait of Sir Henry Barkly (commissioned work: oil)
Received: 15 Dec. 1864 from Mr. Norton, collection not recorded.
The Age critic16 noted that 'Mr. Clark's "Ulysses and Diomedes Capturing the Horses of Rhesus" has been so often exhibited in Melbourne, and so often noticed, that it is unnecessary to do more than mention that it also forms part of the present exhibition'. Clark had also exhibited it in 1850 at the British Institution in London. It was also shown in Charles Summers' Studio in 1860. The painting is now in the Bendigo Art

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44
Gallery. Clark's Portrait of Sir Henry Barkly was in fact commissioned by the Victorian government when the Governor was to be posted to Mauritius. According to the Argus the painting was intended for the Houses of Parliament.17 However, the government later gave it to the Melbourne Public Library, no doubt because it was the only government institution that collected works of art. It is now on permanent display in the Red Rotunda Room off the Cowen Gallery in the State Library.

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Earles Chesterview full entry
Reference: Earles, Chester, b. 18 Aug. 1821, London; d. 14 May 1905, Hawksburn, Melbourne, aged 83.
Kerr; DAAO; Graves; PROV databases
Address: Avoca Street, South Yarra.
At the Foot of the Cross £150 (oil)
Hagar £150 (oil)
The Mermaid (Vide Tennyson) £40 [medium not recorded]
The Harem £40 [medium not recorded]
Tea Time £30 [medium not recorded]
The Valentine £30 [medium not recorded]
Received: 15 Dec. 1864, collected: 4 Feb. 1865.
It is unlikely that all these works were painted for this exhibition. Earles had exhibited some of these subjects in Britain. At the Foot of the Cross had appeared at the British Institution in 1860. The catalogue gives an explanation from John xix, 27: Then he said to the disciple, "Behold your Mother." The biblical quotation was also used as the title. It was also on display at the Royal Hibernian Academy of Arts in 1861 and the Royal Academy in 1855. It appeared yet again in the Intercolonial Exhibition in 1866 and later at the Melbourne Public Library Loan Exhibition, 1869. The subject of Hagar appeared at the Royal Academy in 1856 and at Suffolk Street in 1857. It later made an appearance at the Melbourne Public Library Loan Exhibition 1869. It is tempting to think that The Harem was the same picture as Pets of the Harem, which was also at the 1869 Exhibition. The critics were polite but lukewarm. The Argus said of At the Foot of the Cross that the work was 'full of artistic feeling but feebly rendered in some of the details'.18 Hagar was 'only a model but with a clever surrounding'.19 On the other hand, the Age gave some praise to both The Valentine and The Mermaid.20

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Fallon Johnview full entry
Reference: Fallon, John, b. c. 1838, Dublin, d. 7 Oct. 1888, Melbourne, aged 51.
Kerr; PROV databases; Sands and McDougall Directories; Registrar of BDM.
Address: Peel Street, Collingwood.
Margaret £5.5.0 [medium not recorded]
Received: 15 Dec. 1864, collected, 2 Feb. 1865.
In the newspapers Fallon was cursorily noted with nothing said about his work.

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Gritten Henryview full entry
Reference: Gritten, Henry, b. c. 1819/1820, London, d. 14 Jan. 1873, Fitzroy, Melbourne.
Kerr; AKL; DAAO; Obituary in Argus, 16 Jan. 1873, p. 5; Registrar of BDM;
PROV databases; T. Bonyhady, The Colonial Image: Australian painting 1800
1880, Sydney: Australian National Gallery and Ellsyd Press, 1987.
Address: [261 Victoria Parade, East Collingwood].
View in the Botanic [sic] Gardens £65 (oil)
View in Studley Park £20 (oil)
Merri Creek £20 (oil)
Interior of the Lady Chapel, St. Francis Church £5 (water colour)
View in the Fitzroy Gardens £5.5.0 (water colour)
Rouen Cathedral; sketching on the spot £3.3.0 (water colour)
Abbeville Cathedral £3.3.0 (water colour)
Church of St. Lawrence, Rotterdam. Sketched on the spot £3.3.0 (water colour)
Received: 15 Dec. 1864,′ collected, 1 Feb. 1865.
The Herald critic saw Gritten as an important addition to the colony:
Mr. H. Gritten, a gentleman who has only lately come to the colony, although he has been in the other colonies for the last twelve years, has painted several exceedingly pleasing pictures since his arrival here, is engaged upon a view of Melbourne from the Botanical Gardens . . . Gritten is a most welcome addition to the list of artists in Victoria.21
The first four paintings were particular favourites, and the painting of Merri Creek was reproduced in the Illustrated Melbourne Post. The original version is probably the oil painting now in the State Library of Victoria.

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Hulme Edwardview full entry
Reference: Hulme, Edward, b. 2 Feb. 1817, Fulham, London, d. 7 Sept. 1904, Bobinawarrah, Vic., aged 87.
Kerr; G. Pirstitz & D. Royal, Edward Hulme 1818-1904, Albury, NSW: Albury City Art Gallery, 1979; PROV databases.
Address: Stanley, near Beechworth [Victoria].
Flora Australis Vulgaris £100 (oil)
Received: 15 Dec. 1864 from Mr. Norton, Collins Street, collected, 7 Feb. 1865, by B. Saunders.
Comparatively little was said about this painting in the papers. The Herald had the most to say: 'Mr. E. Hulme, an amateur, we understand, has a rather prettily painted family group, described as Flora Australis Vulgaria. It is far from being devoid of merit, but the background is a little flat and uncertain'.22 Note that in the ledger the title is incorrectly given as Flora Australia Vulgaria.

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Marshall Jamesview full entry
Reference: Marshall, James, b. c.1800, Aberdeen, d. 17 Aug. 1870, Melbourne, aged 70.
Kerr; DAAO; PROV databases; Sands and McDougall Directories; Registrar of BDM.
Address: Dryburgh Street, Hotham [North Melbourne].

View page
47
Rise of Flagstaff Hill & Fall of Batman's Hill £7.7. (oil)
Dandenong Creek £7.7. (oil)
Received: 20 Dec. 1864, collected, 2 March 1865, by Mr. Anderson (agent).
Despite his previous exhibiting, none of the critics bothered to mention the above works. A number of his paintings in other exhibitions were Tasmanian subjects. He seems to have favoured landscapes and cityscapes, e.g., Edinburgh from Memory.

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Paulson Anneview full entry
Reference: Paulson, Mrs. Anne, b. 1808 Papplewick; d. 17 Sept. 1866, Castlemaine, Vic., aged 57.
Kerr; DAAO; A.W. Mallatratt, Mansfield's Victorian Lady Artist, Mansfield, Vic.: Mansfield
District Council, 1996; PROV databases; Registrar of BDM.
Address: Castlemaine [Victoria].
Fruit and Flowers £30 (oil)
Preparing for the Banquet £10 (oil)
Flowers £7 (oil)
Received: 15 Dec. 1864, collected, ? Feb. 1865 by Mr. Waterman (agent).
The second painting was described by the Argus critic as Aborigines preparing a feast.23 The Age critic objected to her fruit: 'Very little exception can be taken to the drawing, colour and composition; but the texture is not that of fruit. It looks like fruit which has been covered with a coat of fruit. You do not feel that if you were to touch one of the grapes, you would destroy its beautiful bloom, or that the contact of your finger with a peach would leave a dimple on its pulpy face. The pictures resemble copies from a picture, rather than transcripts from natural objects'.24

see The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Saunders Benjaminview full entry
Reference: Saunders, Benjamin, b. c. 1821, d. 20 Sept. 1891, South Melbourne, aged 70.
Kerr; DAAO; PROV databases; Registrar of BDM.
Address: Clarendon Place, Emerald Hill [South Melbourne]
Noon Day Walk in the 17th Century £30 [medium not recorded]
Received: 19 Dec. 1864, collected, 2 Feb. 1865.
Unfortunately Saunders was not discussed by the newspaper critics. It should be noted that he sent four copies of old masters to the NSW Agricultural Society Exhibition in 1873. Exhibiting copies was not unusual; even Chevalier exhibited a watercolour copy of a self-portrait by Raphael in the Exhibition of the Victorian Society of Fine Arts 1857.

See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Short Henryview full entry
Reference: Short, Henry, b. c. 1807, London, d. 16 July 1865, Carlton, Melbourne, aged 58.25
Kerr; C. Downer, 'The Language of Flowers: Henry Short's Our Adopted Country', La Trobe Journal, no. 62, Spring, 1998.
Address: Carlton Street, Carlton Gardens.
Fruit and Flowers £50 (oil)
Received: 15 Dec. 1864, collected, 4 Feb. 1865.
The Argus critic was very positive: 'Mr. Short, however, has a capital fruit-piece, painted specially for this exhibition. If he has made the most of the luxuriance of the climate, he

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48
has painted with truth the delicacy of nature'26. However, the Herald critic27 was rather cold: 'The two fruit and flower subjects by Mr. Short are tolerably familiar to the public'. Short seems to have given up landscape painting after the 1861 exhibition in Charles Summers' studio, when a critic called his landscapes 'detestable' in comparison to his still-life paintings.
See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Short William Howesview full entry
Reference: Short, William Howes Wackenbarth, b. 1833, Surrey; d. 20 June 1917, Burwood, Melbourne, aged 84.
Kerr; DAAO; PROV databases.
Address: 41 Collins Street Melbourne.
Yarra Bend from Studley Park £25 [medium not recorded]
Received: 21 Dec. 1864, collected, 9 Feb. 1865.
Short used the Yarra and its adjacent parks as subjects for his paintings. Other subjects were also from the inner suburbs: e.g. View of Flemington from Royal Park with Cattle grazing; Sunset View from Studley Park; Studley Punt on the Yarra; Dight's Mill. However, he soon widened his repertoire, e.g. The Barrabool Hills, Geelong; Picnic Point, looking towards Brighton Beach. Short seems to have exhibited Yarra Bend from Studley Park before in Charles Summers' Studio in 1861. On that occasion, the Age critic described it as 'a capital painting'. This time, however, there were no comments.

See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Taylor Mrs Herbert Eview full entry
Reference: Taylor, Mrs Herbert E.
J. Johnson, Works Exhibited at the Royal Society of British Artists 1824-1893, Woodbridge, Suffolk, Antique Collectors' Club, 1975. NB: The Mrs H Taylor here may be referring to a different artist altogether.
Address: South Yarra.
Now or Never £5 (water colour)
Received: 14 Dec. 1864, collected, 1 Feb. 1865.
The critics had little to say. The Argus merely explained the subject: 'a crayon sketch of a pastime in which lovers are said to indulge'.28 However, the Herald: explained it better 'a young man attempting to snatch a kiss'.29 The Age30 critic was quite cutting: 'Of Mrs Taylor's grotesque sketch Now or Never, we can only say "Never.'"


See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Terry Frederic Casemeroview full entry
Reference: Terry, Frederic Casemero, b. 1825, Great Marlow, Bucks., d. 10 Aug. 1869, Sydney.
Kerr; DAAO; ADB.
Address: [Alma Street, Darlington, Sydney].
Bush Track £30 (water colour)
Received: 10 Dec. 1864, collected: 8 Feb. 1865, by Mr Joseph Hirst (agent).
The newspaper critics immediately recognised Terry's superior work. In the Argus,31 we read :
Only one [sic] water-colour drawing figures in the exhibition. It represents a "Bush Track," and is by Mr. P[sic] C. Terry, of Sydney. We hope it will find a purchaser and be retained in Melbourne. Mr. Terry's style is broad and effective, without

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49
sacrificing distinctness of form to freedom of touch. The scale of colour is nicely graduated; his distances are soft, and he works up a few simple elements into a really clever picture.
The Age critic wrote32: "A very clever and elaborate piece of watercolour, by Terry, of Sydney'.

See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Thomas Margaret S Cview full entry
Reference: Thomas, Margaret S. C., b. c.1843, Croyden, Surrey; d. 24 Dec. 1929, Norton, Herts., aged 86. Kerr; DAAO; ADB; Smith; Wood
Address: 156 Victoria Street, Richmond.
A Study £10.10 (oil)
Gulnare £10.10 (oil)
Viola £7.7 (oil)
Received: 15 Dec. 1864, collected, 9 Feb. 1865, by Mr. Kingsbury (agent).
Thomas was well respected as a student of Charles Summers. Two of her paintings were literary: Viola probably from Twelfth Night and Gulnare from Byron's The Corsair. The Argus described her as the 'industrious Miss Thomas'.33 The Herald had the following: 'Miss Thomas, a young lady who is favourably known as a pupil of Mr. Summers and who has on former occasions exhibited several highly creditable studies in plaster, has a not unpleasing sketch in oil entitled "Viola" which is not wanting in considerable delicacy of expression and vigour of treatment'.34 Although she was usually thought of as a sculptress, once she left Victoria, most of her works were paintings, mainly portraits. Her large portrait of Summers at the State Library of Victoria is a good example.

See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Walker Georgeview full entry
Reference: Walker, George, b. c. 1809, d. 14 June 1878, Hotham, Melbourne, aged 69.
Kerr; DAAO; PROV databases.
Address: 115 Queensbury Street, Hotham [North Melbourne].
View on the Goulburn, Victoria £25 [medium not recorded]
Received: 17 Dec. 1864, collected, 4 Feb. 1865.
The newspaper critics ignored this painting. They may well have seen the painting in 1854. It seems to have been his major work, as it was exhibited later by a J. Hingston at the Melbourne Intercolonial Exhibition 1866. It has been suggested in Kerr that he was probably a photographic colourist.

See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Webb Alexander Jamesview full entry
Reference: Webb, Alexander James, b. 8 Oct. 1813, Scotland, d. Belmont, Geelong, aged 79.
Kerr; DAAO; Alexander Webb 1813-1892, Geelong: Geelong Art Gallery, 1989
Address: Geelong.
Australia Exultant (£35) [medium not recorded]
Received: 16 Dec. 1864, collected, 4 Feb. 1865, by Mr. Morrison (agent).
Unfortunately, Webb was overlooked by the newspaper critics. Presumably it was a landscape not unlike the works in the exhibition held at the Geelong Art Gallery in 1989/90. The colours seem to be slightly garish and bright, which makes the picture unrealistic.

See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Wheeler H Rview full entry
Reference: Wheeler, H. R.
PROV databases
Address: Richmond.
Bush Scene £10 [medium not recorded]
Received: 19 Dec. 1864, collected, 1 Feb. 1865.
Wheeler was ignored by the newspaper critics, but at least he was not humiliated. He does not seem to have exhibited elsewhere.

See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Williams John Robertview full entry
Reference: Williams, John Robert, b. c. 1823; d. 29 July 1910, Hawthorn, Melbourne, aged 86.
Kerr; DAAO; PROV databases; Registrar BDM.
Address: [Little Park Park, South Yarra]
Water Gate, Botanical Gardens £15 (oil)
Received: 15 Dec. 1864, collected, 1 Feb. 1865.
His painting was listed by the critic for the Argus.35 The Age critic used it, along with other works, as being examples of daubs.36 However, in 1862 when he exhibited two paintings in The Annual Exhibition of Fine Arts, the Herald critic gave a positive critique:
Mr. J.R. Williams, an amateur, has two pleasing little pictures which do him infinite credit. One of them is "A Bend" on the Yarra, and the other is a view of Melbourne from the Botanical Gardens. In the latter picture there is much felicitousness of arrangement. There is an admirable balance of effect, and the distribution of the masses of shadow are very happily considered. Mr. Williams will, no doubt, be a regular contributor to future exhibitions.37


See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Woodhouse Frederick Williamview full entry
Reference: Woodhouse, Frederick William, b. 26 Dec. 1820 London; d. 29 Dec. 1909, Elsternwick, Melbourne, aged 89.
Kerr; DAAO; C. Laverty, Australian Colonial Sporting Painters: Frederick Woodhouse and Sons, Sydney: David Ells Press 1980, PROV databases.
Address: Henry Street East, Collingwood.
View of Sandridge Butts from Emerald Hill £30 (oil)
English Landscape: Homestead £15 [medium not recorded]
English Landscape: Returning from Plough £20 [medium not recorded]
Landscape and Cattle £15 [medium not recorded]
Gypsy Tent £20 [medium not recorded]
Wild Flowers £5 [medium not recorded]
Received: 15 Dec. 1864, collected: 6 Feb. 1865.
Despite the success of his sporting paintings, the above works were not taken seriously. The Herald critic noted his reputation as a painter of horses: 'Mr. Woodhouse, who is known as a not altogether unsuccessful painter of horses, has several pictures, but they are all more or less distinguished by a certain rawness of tone and glare of colouring'.38 The Age critic was quite devastating and claimed that 'we have seen far better pictures on a Birmingham tea-board than Mr. Woodhouse's Landscape and Cattle'39
See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Grundy Joseph Leemingview full entry
Reference: Grundy, Joseph Leeming, Esquire
Address: 17 Temple Court, Collins Street West, Melbourne.
Joseph Grundy was an accountant who worked at Temple Court. His home address was Northcote Villa, Northcote. He owned a painting, 'Portrait of a Lady' which was thought to have been painted by Sir Joshua Reynolds. Grundy no doubt lent his painting to the Fine Arts Commission to improve the tenor of the exhibition.

See The La Trobe Journal, SLV, Article by Michael Watson: ‘The Victorian Art Exhibition 1864-65’.
IN LATE 1864 the Trustees of the Melbourne Public Library received two shipments of paintings via the Dover Castle1 and the True Briton.2 All but two paintings had been selected by Sir Charles Eastlake, President of the Royal Academy and Director of the National Gallery, London. These were to be put on exhibition in late December 1864 in the new, but temporary, space in the northern end of what is now called the Queen's Hall.3
While Eastlake was assembling the paintings, it was felt that some small gesture should be made towards the artists resident in the Australian colonies. In March 1864, the following notice appeared in the Victoria Government Gazette:
The Government of Victoria has determined to offer the sum of £200 for the purchase of a painting or paintings, by an artist or artists resident in Australia, provided such painting or paintings possess sufficient merit to qualify it or them to compare favourably with the works of eminent living artists of Europe. Such painting or paintings to be placed in the Public Gallery of Art of Victoria.
Every picture submitted must be painted and finished in oil, on canvas, panel, or other suitable material, or in watercolours. The subject of the picture is left to the judgement and taste of the artist. The pictures will be received in Melbourne, at the Museum of Building Materials, Queen-street, between the 15th of October and the 15th of November 1864, and will be publically exhibited on and after the 1st December in that year for one month. Before the expiration of that period, the judges appointed to determine upon those to be purchased will decide as to which, if any, be so purchased. Each picture must be accompanied with a letter, stating the name and address of the artist, and price required for the picture. Every reasonable care will be taken of the pictures sent in, but the Government of Victoria will not be responsible for any loss of or any injury to them. Public notice will be given stating when the pictures may be removed from the place of exhibition. The carriage, delivery, removal, unpacking and packing of the pictures must be provided for and done by the artists, or their agents, at their own risk and cost.4
The last day for presenting the paintings was moved to 15 December and a number of artists delivered their own works directly to the Library. The exhibition opened on Christmas Eve.5
The result of the above announcement was to create two exhibitions in tandem, each of a distinctly different nature: the paintings from Europe that had arrived as part of the Library's collection, and the paintings for the competition. The former group is well documented,6 as the works are still part of the collection of the National Gallery of Victoria, with the exception of Baxter's Rosebud of England, which was de-accessioned and auctioned off in 1941 at Leonard Joel's. The latter group has been little discussed, as there was never a list of the paintings or their makers. Until now, only Nicholas Chevalier's Buffalo Ranges, Ovens District is known to have been in the exhibition as it was the winning painting.

View page
41
However, by some quirk of fate, a collection of papers, including a ledger, from a deceased estate, entered the Manuscripts Collection of the State Library of Victoria some years ago.7 How this document ended up in the State Library is not known. The cover title reads 'Paintings Received at the Melbourne Public Library, December 1864' while the inside heading states: 'The following numerated pictures received at the Melbourne Public Library for Exhibition December 1864 have been received from the Fine Arts Commission perfect and in good order and condition'. The first column consists, in most cases, of a list of artists' names with their addresses. The second column contains the date each work was received. The third column provides the titles of the works or a description. The last column shows the price nominated for each work. The paintings were also numbered (i.e. numerated), although someone lost count near the end. This was followed by another set of information: the signatures of the artists, or their agents, when they came to collect their paintings from 1 February 1865. The presence of Chevalier's painting, the dates and venue of the exhibition and the mention of Sir Redmond Barry's Fine Arts Commission demonstrate that we now have a complete list of the artists and paintings that were in this most important exhibition of colonial artists.
Some of the artists badly misjudged the expectations of the critics, the judges and indeed the general public. It is curious that a number of them painted scenes from Europe, biblical topics and even subjects from classical literature. It is impossible to believe that they were unaware of the towering figures of von Guerard and Chevalier and their influence on colonial taste. The Herald critic explained the difference between Chevalier and the other artists (note that von Guerard was not part of the exhibition):
It is, however, only bare justice to this industrious and versatile artist to place upon record his indefatigable exertions in supplying himself with the means of producing works of the class of which this is the very best of all the specimens that have in no inconsiderable numbers been continually sent forth into the world from his studio for the last nine or ten years. While some members of his profession content themselves with bewailing the limited encouragement given to art and artists in this colony, and in wrapping themselves up in the mantle of their own self-estimation, he has issued forth, palette in hand, and has wandered for weeks together in places previously almost undiscovered, but the exploration of which amply repaid him in the plenteous additions he was able to make to his stock of original sketches . . . he has so thoroughly familiarized himself with characteristic forms and local effects, that he has in a manner got off by heart the practical rules necessary to be known in giving the quality of true resemblance to his subjects.8
The colonial population did not want memories of 'home'. They desired images of their new land with its peculiarities, which new chum artists had to learn to portray. Some of the art critics for the newspapers seemed to realise this. Von Guerard and Chevalier were always points of reference and perceived as the artists whom the rest should emulate. Both were highly professional and both saw the new continent as something to be studied; both accompanied Georg von Neumayer on some of his scientific explorations of Victoria. The homely British artists and gentlemen amateurs could not compete. They had no ideology to rival the German romanticism of von Guerard or the work ethic of Chevalier.9

The catalogue of works follows
Publishing details: The La Trobe Journal, SLV, No 88 December 2011.
Planting Dreamsview full entry
Reference: Planting Dreams i Shaping Australian Gardens by Richard Aitken. Includes 10 chapters, list of illustrations and bibliogrsphy. Virtually no biographical information on artists. [’‘A garden should … be just a little too big to keep the whole cultivated. Then it gives it a chance to go a little wild in spots’ – Edna Walling, landscape designer
Waratah or wattle? Chrysanthemum or rose? Planting Dreams celebrates the artistry and imagination that have shaped Australian gardens. Respected garden historian Richard Aitken explores the environmental and social influences that have helped produce our unique gardening culture – from Indigenous land management and the earliest European garden at Farm Cove, to the potted plants and besser block screens of mid-twentieth century modernist design and beyond.
Drawing on the unparalleled collections of the State Library of New South Wales, Planting Dreams showcases Australian garden making in all its richness and diversity through a stunning and intriguing mix of paintings, sketches, photographs, and prints, from popular culture to high art. 
‘An elegant look at the miraculous gardening evolution’ – Indira Naidoo, author of The Edible Balcony’] [to be indexed]
Publishing details: New South, Hardback | Sep 2016, hc, 272pp, with index,.
Coulter G Gview full entry
Reference: for illustration of work see Planting Dreams i Shaping Australian Gardens by Richard Aitken. Includes 10 chapters, list of illustrations and bibliogrsphy. Virtually no biographical information on artists. [’‘A garden should … be just a little too big to keep the whole cultivated. Then it gives it a chance to go a little wild in spots’ – Edna Walling, landscape designer
Waratah or wattle? Chrysanthemum or rose? Planting Dreams celebrates the artistry and imagination that have shaped Australian gardens. Respected garden historian Richard Aitken explores the environmental and social influences that have helped produce our unique gardening culture – from Indigenous land management and the earliest European garden at Farm Cove, to the potted plants and besser block screens of mid-twentieth century modernist design and beyond.
Drawing on the unparalleled collections of the State Library of New South Wales, Planting Dreams showcases Australian garden making in all its richness and diversity through a stunning and intriguing mix of paintings, sketches, photographs, and prints, from popular culture to high art. 
‘An elegant look at the miraculous gardening evolution’ – Indira Naidoo, author of The Edible Balcony’]
Publishing details: New South, Hardback | Sep 2016, hc, 272pp, with index,.
Bokor Johnview full entry
Reference: for illustration of work see Planting Dreams i Shaping Australian Gardens by Richard Aitken. Includes 10 chapters, list of illustrations and bibliogrsphy. Virtually no biographical information on artists. [’‘A garden should … be just a little too big to keep the whole cultivated. Then it gives it a chance to go a little wild in spots’ – Edna Walling, landscape designer
Waratah or wattle? Chrysanthemum or rose? Planting Dreams celebrates the artistry and imagination that have shaped Australian gardens. Respected garden historian Richard Aitken explores the environmental and social influences that have helped produce our unique gardening culture – from Indigenous land management and the earliest European garden at Farm Cove, to the potted plants and besser block screens of mid-twentieth century modernist design and beyond.
Drawing on the unparalleled collections of the State Library of New South Wales, Planting Dreams showcases Australian garden making in all its richness and diversity through a stunning and intriguing mix of paintings, sketches, photographs, and prints, from popular culture to high art. 
‘An elegant look at the miraculous gardening evolution’ – Indira Naidoo, author of The Edible Balcony’]
Publishing details: New South, Hardback | Sep 2016, hc, 272pp, with index,.
Bryant Charlesview full entry
Reference: see BARBARA KIRK AUCTIONS, UK, 29 Jan, 2019, lot 508: CHARLES BRYANT. Cornish Luggers. Oil on board. Signed & dated 1919. 19 x 24cm. Note: Charles Bryant was a marine painter from New South Wales who studied in St. Ives with Julius Olssen & exhibited his work extensively in London & elsewhere. After the war, he returned to St. Ives from time to time.
Flatow Annie (1833-1916)view full entry
Reference: Lot 298 Sale: Pictures, Books, Prints & Ephemera Chinese, Japanese, Indian & Islamic Ceramics & Works of Art Antique Furniture & Objects Auction House: Semley, UK, Auctioneers Date: Saturday 26th January 2019 Property of a lady - Annie Flatow (Australian, 1833-1916) - a 19th century seaweed & shell collage, in glazed frame, with old printed trade label to reverse 'Sea Weeds and Fern Pictures / MOUNTED BY / MRS. JOSEPH FLATOW, / 26 CAPEL STREET, HOTHAM' (Victoria, Australia), 11 by 13ins. (27.9 by 33cms.) (overall) (see illustration). Footnote - Mrs Joseph V. Flatow lived in Prahran with her husband Joseph, ...Estimate: £50 - £80
Greig Ianview full entry
Reference: exhibition invite with brief essay and 1 illustration.
Publishing details: Arthouse Gallery, 2019, card
Ref: 1000
Sydney International Exhibition 1879. view full entry
Reference: Official Record of the Sydney International Exhibition 1879. Catalogue dealing in part with art, and the manufacture of ceramics and textile.
Publishing details: Sydney Thomas Richards 1881. 1154 pages
Ref: 1000
exhibitions Art in Australiaview full entry
Reference: see listsings under titles of exhibitions [eg Sydney International Exhibition 1879].
Melbourne International Exhibition 1889 - 1881view full entry
Reference: Official Record Containing Introduction History of Exhibition Description of Exhibition and Exhibits Official Awards of Commissioners and Catalogue of Exhibits. Published by Authority of the Commissioners. [see also Report of the Executive Commissioner on the Melbourne International Exhibition 1880-81 Published in Sydney by Thomas Richards Government Printer.].
Publishing details: Published in Melbourne by Mason, Firth & McCutcheon. 1882. 681 pages + adverts.
Ref: 1000
International Exhibition Melbourne 1889 - 1881view full entry
Reference: Official Record Containing Introduction History of Exhibition Description of Exhibition and Exhibits Official Awards of Commissioners and Catalogue of Exhibits. Published by Authority of the Commissioners. [see also Report of the Executive Commissioner on the Melbourne International Exhibition 1880-81 Published in Sydney by Thomas Richards Government Printer.].
Publishing details: Published in Melbourne by Mason, Firth & McCutcheon. 1882. 681 pages + adverts.
Schaller Markview full entry
Reference: Eastgate Gallery
Publishing details: 2001
Ref: 1000
Fairbairn Jamesview full entry
Reference: Fairbairn - Campbelltown Arts Centre Travelling Exhibition
Publishing details: Campbelltown Arts Centre 2011-12 (travelling) 66pp
Ref: 1000
Lowe Mauriceview full entry
Reference: The sculpture of Maurice Lowe : selected works, 1956-1990 / with commentary by Marilyn Wilkey Merritt. [Lowe was born, grew up and worked in Australia before travelling and working as a sculptor in America for over a quarter of a century.]
Publishing details: M.C. Lowe, c1991 
xii, 90 p. : ill. Includes index.
Sternagel W ?view full entry
Reference: see GORRINGES, UK, 28.1.19, lot 430: Australian School (20th century), oil on board, outback landscape with cattle grazing, indistinctly signed, 'W Sternagel?', white frame with hessian slip, 29 x 34cm
Jensen John view full entry
Reference: see JSUTTON HILL FARM COUNTRY AUCTIONS, UK, lot 552, 1.2.19: ohn Jensen, Australian/British b.1930- ''The Man Who Eschewed Credit Cards''; pen and black ink with body colour, signed and inscribed 'with a nod to H M Bateman', 32 x43.5cm: John Jensen, Australian/British b.1930- ''The Broker Who Said That Money Isn't Everything''; black ink with watercolour and body colour, signed, and dated '87, 22 x37cm: Rick Brookes, British b.1948- ''The man who said 'What's a Euro'''; pen and black ink with blue wash, signed, 28 x36.5cm, (3),
O'CONNELL Michaelview full entry
Reference: see Lyon &Turnbull auction, Edinburgh, 14.2.19, lot 415: MICHAEL O'CONNELL (1898-1976)

'LINEAR CAPRICE', A BATIK PANEL, CIRCA 1960

paste-resist wool and rayon, with Italian scenes, signed MICHAEL O'CONNELL and inscribed LINEAR CAPRICE

182cm x 229cm
Note: Michael O’Connell, was a British textile artist who worked in Australia in the 1920's and 30's and in Britain from the 1940's until his death in 1976. O'Connell's fabric designs were printed by the Edinburgh Weavers and London department stores, Heal & Sons and Harrods. He also made large fabric hangings, such as the backcloth for St Martin's Church, Manchester, and textile panels for the Festival of Britain in 1951, which were widely exhibited. He developed a unique combination of batik and resist dyeing techniques. Specially formulated resists and dyes were painted and piped onto mordanted fabric, and then the whole work, once dry, was dyed. Only after washing and scrubbing were the colours revealed.
Mannix Anthonyview full entry
Reference: Anthony Mannix : the beast of the unconscious and other-well known entities / Anne Loxley

Publishing details: Emu Plains, N.S.W. : Penrith Regional Gallery & The Lewers Bequest, c2009 
35 p. : ill., ; 28 cm. 
Ref: 1000
Barbour Johnview full entry
Reference: John Barbour: Accrued losses. (Exhibition catalogue)



Publishing details: 1999
Ref: 1000
Hunter Toddview full entry
Reference: Todd Hunter - Just Like the Night (exhibition catalogue)
Publishing details: 909 High Street, Armadale, Victoria, 2006
Ref: 1000
East Marionview full entry
Reference: Marion East - Shadow of a Dog (exhibition catalogue). Exhibition opened by Helen Maxwell.
Publishing details: ANCA Gallery, 1997
Ref: 1000
Hanks Rew view full entry
Reference: Rew Hanks : Packer prince. Exhibition catalogue. Essay by: Sasha Grishin.
Publishing details: Redfern, N.S.W. : Legge Gallery, [2007] 
11 p. : col. ill. ; 16 cm. + 1 price list. 
Ref: 1000
Jensz Davidview full entry
Reference: David Jensz : sculpture (Notes Catalogue of an exhibition held at OK Harris, New York, February 19-March 18, 2000.).
Publishing details: [Murrumbateman, N.S.W. : David Jensz, 2000] 
1 v. (unpaged) : chiefly col. ill. ; 30 cm. 
ISBN 064638323X

Ref: 1000
Ostrow Deborahview full entry
Reference: Gypsy girl, gypsy girl IMA 1-24 August : where to from here CACSA 6-29 September

Publishing details: Parkside, S. Aust. : Contemporary Art Centre of South Australia in collaboration with the Institute of Modern Art, 1996 
[4] p.: ill. ; 27 cm. 
Ref: 1000
Craft in Australiaview full entry
Reference: Cicely and Colin Rigg Craft Award : National Gallery of Victoria. [Each award focuses on a specific craft.
After the inaugural award of 1994, the National Gallery of Victoria officially renamed the award..]
Publishing details: Melbourne : National Gallery of Victoria, 1997 
1v. : col. ill. ; 26 cm. 
Ref: 1000
Rigg Cicely and Colin view full entry
Reference: see Cicely and Colin Rigg Craft Award : National Gallery of Victoria. [Each award focuses on a specific craft.
After the inaugural award of 1994, the National Gallery of Victoria officially renamed the award..]
Publishing details: Melbourne : National Gallery of Victoria,
Green Denise view full entry
Reference: Denise Green 1980-1988
Publishing details: Parkville [Vic.] : University Gallery, University of Melbourne, 1988
Ref: 1000
Purdy Susanview full entry
Reference: Susan Purdy - The Shaking Tree (exhibition catalogue)
Publishing details: details needed
Ref: 1000
Smeaton Jamesview full entry
Reference: James Smeaton Devil Bend (exhibition catalogue)
Publishing details: details needed
Ref: 1000
Goddard Barrieview full entry
Reference: Barrie Goddard - Paintings 1970 - 1995. Notes "Exhibition by Erica Green, University of South Australia Art Museum, 2-25 March 1995."
Catalogue essays by John Stringer and John Neylon.
Publishing details: Underdale, SA : University of South Australia Art Museum, c1995 
16 p. : ill. (chiefly col.)

Ref: 1000
Sadauskas Faustusview full entry
Reference: Faustus Sadauskas (exhibition catalogue)
Publishing details: Sherman Galleries (date?)
Ref: 1000
Marti Daniview full entry
Reference: Dani Marti - Looking for Rover. Includes essay: Looking for Rover / Victoria Hynes.
Bibliography:
Publishing details: Paddington, NSW : Sherman Galleries, [2004] p. [6].
1 folded sheet (6 p.) : col. ill. ; 30 cm. 
Notes Exhibition held 11 March - 2 April 2004 at
Includes essay: Looking for Rover / Victoria Hynes.
Bibliography: p. [6].
Ref: 1000
Newling Rachel view full entry
Reference: Rachel Newling - Limited edition linocuts. 51 works illustrated. Biographical information. Photograph of artist. (Subjects: Australian flora and fauna0.
Publishing details: Robin Gibson Galley, c2000, 6-page fold out card.
Ref: 225
Stuart Guy view full entry
Reference: Guy Stuart - A brief Retrospective. Catalogue of exhibition held at Heide Park and Art Gallery, 10 Jun. - 25 Jul., 1982.
Includes bibliography.
Publishing details: Heide, 1982, 6-page folded card
Ref: 138
Fogwell Dianneview full entry
Reference: Diane Fogwell - Arttst Books
Publishing details: Canberra Museum and Gallery, 2002
Ref: 1000
Fogwell Dianneview full entry
Reference: Dianne Fogwell : collected works 1979-2001
by Fogwell, Dianne, 1958-

Publishing details: Watson, A.C.T. : D Fogwell, [2001]
Ref: 1000
Hattam Katherine view full entry
Reference: Katherine Hattam - The Vocabulary of Chairs; poem, Chris Wallace-Crabbe ; text Drusilla Modjeska. Notes Exhibition dates: 22 May - 30 June 2002.
Publishing details: [Richmond, Vic.] : K. Hattam, 2002 
27 p. : ill. (chiefly col.) ;

Ref: 1000
Edwards Bronteview full entry
Reference: The occupation force comprises an exhibition of art objects made by Bronte Edwards. Notes "The Warrnambool Art Gallery is occupied by the Art Army from 16th March to 21st April, 1985."

Publishing details: Warrnambool [Vic.] : Warrnambool Art Gallery, 1985 
36 p. : chiefly ill. ; 22 cm. 
ISBN 0958975310

Ref: 1000
Jian Guoview full entry
Reference: Mama's tripping / Guo Jian
by Jian, Guo

Publishing details: Canberra : Canberra Contemporary Art Space, 2000
Ref: 1000
Brisbane City Council Collectionview full entry
Reference: Art collection / Brisbane City Council.
Brisbane, [Queensland] : Brisbane City Council, [1974] 
1 sheet (folded) : 1 illustration ; 26 cm 
Series John Ryan Comic Collection.
City Hall Cultural Committee
• Randall Art Collection
• Exhibition listing.
 
Notes Library's John Ryan Comic Collection copy comes with two leaflets. One leaflet is titled, "Brisbane City Council presents Combined Bands Concert, City Hall, Sunday 30th June 1974, programme" (1 leaf, 33 cm). The other leaflet is titled, "Blue poles by Jackson Pollock, USA (1912-1956). Oil, duco, aluminium paint, glass, on canvas, 6 feet 11 inches x 16 feet. Owned by the Australian National Gallery, Canberra. On loan to the Brisbane City Council, on exhibition June-July 1974" (4 pages, 24 cm).
"50 cents admission" -- Cover.
Subjects Randall, Richard John, 1869-1906 -- Exhibitions.  |  Brisbane (Qld.). Council -- Art collections -- Exhibitions.  |  Art -- Australia -- Exhibitions.
Other authors/contributors Sabine, Nigel, curator  |  City Hall (Brisbane, Qld.), host institution  |  Queensland Festival of the Arts
Exhibited Catalogue of an exhibition, Reception Rooms, City Hall, curated by Mr. Nigel Sabine of the Brisbane City Council Historical Museum at the City Hall. 

Publishing details: ?
Ref: 1009
Hall Janet Clarke art collectionview full entry
Reference: The Art Collection of Janet Clarke Hall, by Sarah Edwards and Lisa Sullivan, Includes b ibliographical references.
Exhibition catalogue: August 7 - September 26 1997, 35 works, illustrated, some biographical information on artists including essay on 2 works by Elsie Margaret Traill and 14 by Jessie Traill.
Publishing details: Janet Clarke Hall, The University of Melbourne, 1997. 32pp
Ref: 138
Women Artistsview full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists.
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Hodge Samuelview full entry
Reference: Pretty Telling I Suppose by Samuel Hodge ; foreword: Gert Jonkers ; editors: Robert Milne, Sinisa Mackovic. Contains adult themes and/or strong language.
Publishing details: [Woollahra, N.S.W.] : Rainoff, 2009 
[64] p. : col. ill. ; 27 cm. 
Ref: 1000
Percival Ianview full entry
Reference: Ian Percival
Publishing details: Canberra School of Art, 2001
Ref: 1000
O’Loughlin Christineview full entry
Reference: Christine O'Loughlin : artist-in-residence 1987, the University of Melbourne
by O'Loughlin, Christine

Publishing details: Parkville [Vic.] : University Gallery, University of Melbourne, 1987
Ref: 1000
O’Loughlin Christineview full entry
Reference: An exhibition of ceramic sculpture by Christine O’Loughlin. With 5 leaves of plates in 1 portfolio. Includes biographical information.
Publishing details: Publisher: Prahran Gallery ; (1978), 6 pages

Ref: 225
Drummond Rozalindview full entry
Reference: scopic territories. "October 3-November 10 1991, Australian Centre for Contemporary Art." Bibliography: p. [11]
Publishing details: Melbourne : Australian Centre for Contemporary Art affiliated with Monash University, 1991 
[14] p. : col. ill. ; 25 cm. 
I
Ref: 1000
Robinson Johnview full entry
Reference: Paintings and Lithographs. Catalogue of an exhibition held at Realities Gallery, 16 May-1 June 1989.
Publishing details: Realities, 1989
Ref: 1000
Gertsakis Elizabethview full entry
Reference: Beyond Missolonghi by Elizabeth Gertsakis. Series curator: Merryn Gates.
Catalogue of an exhibitions held at the Ian Potter Gallery, 11 August - 3 September 1994, The University of Melbourne Museum of Art.

Publishing details: Parkville, Vic. : University of Melbourne Museum of Art, 1994 
23 p. : ill. (some col.)
Ref: 1000
Pigott Gwyn Hanssenview full entry
Reference: Gwyn Hanssen Pigott
Publishing details: Brisbane : Philip Bacon Galleries, [2007] 
[8] p
Ref: 1000
Pigott Gwyn Hanssenview full entry
Reference: Gwyn Hanssen Pigott
Publishing details: Brisbane : Philip Bacon Galleries, 2005

Ref: 1000
Pigott Gwyn Hanssenview full entry
Reference: Gwyn Hanssen Pigott
Publishing details: Woolahra, N.S.W. : Rex Irwin Art Dealer, 2009

Ref: 1000
Pigott Gwyn Hanssenview full entry
Reference: Gwyn Hanssen Pigott
Publishing details: Canberra : Drill Hall Gallery ; Woollahra, N.S.W. : Rex Irwin Art Dealer, 2009

Ref: 1000
Pigott Gwyn Hanssenview full entry
Reference: Gwyn Hanssen Pigott
Publishing details: Woolahra, N.S.W. : Rex Irwin Art Dealer, 2001

Ref: 1000
Pigott Gwyn Hanssenview full entry
Reference: Gwyn Hanssen Pigott
Publishing details: Woolahra, N.S.W. : Rex Irwin Art Dealer, 1998

Ref: 1000
Pigott Gwyn Hanssenview full entry
Reference: Gwyn Hanssen Pigott : bowls, beakers and bottles : October 24 - November 18, 2006
by Hanssen Pigott, Gwyn, 1935-

Publishing details: Woollahra, N.S.W. : Rex Irwin Art Dealer, [2006]
Ref: 1000
Pigott Gwyn Hanssenview full entry
Reference: Gwyn Hanssen Pigott : a survey of works : caravan a parade of beakers, bottles, bowls, jugs and cups, [Emmanual Cooper]

Publishing details: London : Tate St Ives, 2004 
32 p. : col. ill. ; 19cm. 
ISBN 1854375806
Notes Published to accompany the exhibition held at Tate St Ives, 21 May - 26 September 2004.
Ref: 1009
Johnson Joseph Colin Francis (1848–1904view full entry
Reference: see Australian Dictionary of Biography. Joseph
Colin Johnson (1848–1904; later to be known
as J. C. F., or ‘Alphabetical’, Johnson)
Montsalvat artist communityview full entry
Reference: see Justus Jorgensen: Conversations and a Memoir by Jenny Teichman. This book deals with Jorgensen's career, friends (eg Max Meldrum, Colin Colahan, Mervyn Skipper), philosophies and the Montsalvat artists’ community. With photographic portraits of artists throughout.
Publishing details: Jenny Teichman, Cambridge England. 1976.privately published, 1976. Edition of 100, Reprinted by Black Jack Press, melbourne , 2005
Meldrum Max view full entry
Reference: see Justus Jorgensen: Conversations and a Memoir by Jenny Teichman. This book deals with Jorgensen's career, friends (eg Max Meldrum, Colin Colahan, Mervyn Skipper), philosophies and the Montsalvat artists’ community. With photographic portraits of artists throughout.
Publishing details: Jenny Teichman, Cambridge England. 1976.privately published, 1976. Edition of 100, Reprinted by Black Jack Press, melbourne , 2005
Colahan Colin view full entry
Reference: see Justus Jorgensen: Conversations and a Memoir by Jenny Teichman. This book deals with Jorgensen's career, friends (eg Max Meldrum, Colin Colahan, Mervyn Skipper), philosophies and the Montsalvat artists’ community. With photographic portraits of artists throughout.
Publishing details: Jenny Teichman, Cambridge England. 1976.privately published, 1976. Edition of 100, Reprinted by Black Jack Press, melbourne , 2005
Skipper Mervyn view full entry
Reference: see Justus Jorgensen: Conversations and a Memoir by Jenny Teichman. This book deals with Jorgensen's career, friends (eg Max Meldrum, Colin Colahan, Mervyn Skipper), philosophies and the Montsalvat artists’ community. With photographic portraits of artists throughout.
Publishing details: Jenny Teichman, Cambridge England. 1976.privately published, 1976. Edition of 100, Reprinted by Black Jack Press, melbourne , 2005
Lempriere Helenview full entry
Reference: see Justus Jorgensen: Conversations and a Memoir by Jenny Teichman. This book deals with Jorgensen's career, friends (eg Max Meldrum, Colin Colahan, Mervyn Skipper), philosophies and the Montsalvat artists’ community. With photographic portraits of artists throughout.
Publishing details: Jenny Teichman, Cambridge England. 1976.privately published, 1976. Edition of 100, Reprinted by Black Jack Press, melbourne , 2005
Robertson Ianview full entry
Reference: see Justus Jorgensen: Conversations and a Memoir by Jenny Teichman. This book deals with Jorgensen's career, friends (eg Max Meldrum, Colin Colahan, Mervyn Skipper), philosophies and the Montsalvat artists’ community. With photographic portraits of artists throughout.
Publishing details: Jenny Teichman, Cambridge England. 1976.privately published, 1976. Edition of 100, Reprinted by Black Jack Press, melbourne , 2005
Skipper Matchamview full entry
Reference: see Justus Jorgensen: Conversations and a Memoir by Jenny Teichman. This book deals with Jorgensen's career, friends (eg Max Meldrum, Colin Colahan, Mervyn Skipper), philosophies and the Montsalvat artists’ community. With photographic portraits of artists throughout.
Publishing details: Jenny Teichman, Cambridge England. 1976.privately published, 1976. Edition of 100, Reprinted by Black Jack Press, melbourne , 2005
Skipper familyview full entry
Reference: see Justus Jorgensen: Conversations and a Memoir by Jenny Teichman. This book deals with Jorgensen's career, friends (eg Max Meldrum, Colin Colahan, Mervyn Skipper), philosophies and the Montsalvat artists’ community. With photographic portraits of artists throughout.
Publishing details: Jenny Teichman, Cambridge England. 1976.privately published, 1976. Edition of 100, Reprinted by Black Jack Press, melbourne , 2005
Fairbairn Davidview full entry
Reference: Lineage David Fairbairn : selected portraits 1998-2010 / curated by Renée Porter. Essay by Lou Klepac. Travelling exhibition.
A Campbelltown Arts Centre travelling exhibition

Publishing details: Campbelltown, N.S.W. : Campbelltown Arts Centre, 2010 
66 p. : col. ill
Grieve Robertview full entry
Reference: Robert Grieve - Works from the Studio, Eastgate Gallery, 15 illustrations. Brief essay, Chronology. .
Publishing details: Eastgate Gallery, 2002, 16pp
Ref: 133
Buvelot Louisview full entry
Reference: Buvelot - A Collection of the Works of Abram Louis Buvelot (1814 - 1888). Brief biography, 19 works and one by Madame Buvelot. The collection of Charles Bennett.
Publishing details: Bendigo Art Gallery, 1960, 4pp
Ref: 2
Buvelot Madamview full entry
Reference: Buvelot - A Collection of the Works of Abram Louis Buvelot (1814 - 1888). Brief biography, 19 works and one by Madame Buvelot. The collection of Charles Bennett.
Publishing details: Bendigo Art Gallery, 1960, 4pp
Bennett Charlesview full entry
Reference: Buvelot - A Collection of the Works of Abram Louis Buvelot (1814 - 1888). Brief biography, 19 works and one by Madame Buvelot. The collection of Charles Bennett.
Publishing details: Bendigo Art Gallery, 1960, 4pp
Brown Vincentview full entry
Reference: artcile on the artist in The Sunday Mail Colour Magazine, April 26, 1981, with 2 colour illustrations
Publishing details: Sunday Mail Colour Magazine, April 26, 1981.
Ref: 22
Currie Kenview full entry
Reference: Visualising the spiritual through the material : Ken Currie, Peter Howson, Campbelltown City Bicentennial Art Gallery, 2 February - 18 March 2001, Newcastle Region Art Gallery, 7 April - 3 June 2001 / [text by] Stephen Baycroft.
Publishing details: NSW Arts, 2000. [6] p. : col. ill. ; 30 cm.

Ref: 224
Howson Peterview full entry
Reference: see Visualising the spiritual through the material : Ken Currie, Peter Howson, Campbelltown City Bicentennial Art Gallery, 2 February - 18 March 2001, Newcastle Region Art Gallery, 7 April - 3 June 2001 / [text by] Stephen Baycroft.
Publishing details: NSW Arts, 2000. [6] p. : col. ill. ; 30 cm.

Sterchele Johnview full entry
Reference: John Sterchele - 4-page biographical leaflet for exhibition? With 3 illustrations.
Publishing details: no details of exhibition. Printed c1984?
Ref: 224
Blanchflower Brianview full entry
Reference: Brian Blanchflower - exhiibition catalogue, Annandale Galleries, 1995, with essay and biographical information.
Publishing details: Annandale Galleries, 1995, 6pp.
Ref: 36
Raft Emanuelview full entry
Reference: Emanuel Raft - New Paintings, Australia Art Resources Gallery. Chronology, 5 illustrations.
Publishing details: Australia Art Resources Gallery, c2003, 6pp
Ref: 122
Watters Maxview full entry
Reference: Max Watters. Paintings (from Bunyan and Kars Springs area). 21 illustrations.
Publishing details: Watters Gallery, 2004, 12pp
Ref: 1
Kypraios Nikos view full entry
Reference: Nikos Kypraios catalogue, 60 exhibits, biography, 5 illustrations
Publishing details: Victorian Artists Society Gallery, 1981,
Ref: 136
Budge Miltonview full entry
Reference: Old Stories new Light - Milton Budge & Blak Douglas at Glasshouse Port Macquarie Regional Gallery, 2016. Illustrated, includes biographies.
Publishing details: Glasshouse Port Macquarie Regional Gallery, 2016, 12pp
Ref: 224
Douglas Blak view full entry
Reference: see Old Stories new Light - Milton Budge & Blak Douglas at Glasshouse Port Macquarie Regional Gallery, 2016. Illustrated, includes biographies.
Publishing details: Glasshouse Port Macquarie Regional Gallery, 2016, 12pp
Dickens Karlaview full entry
Reference: Warrior Woman. Fully illustrated.
Publishing details: Andrew Baker Art Dealer, c2015, 16pp, edition of 2000.
Ref: 224
Surprise Wakartu Coryview full entry
Reference: Wakartu Cory Surprise, Boutwell Draper Gallery catalogue with essay by Wally Caruana and biographical details. 7 illustrations
Publishing details: Boutwell Draper Gallery, 2004, 6pp
Ref: 224
Davies Paulview full entry
Reference: Paul Davies : Everything Loose will land in LA. 7 illustrations, no biographical information.
Publishing details: Woollahra : Tim Olsen Gallery, 2017, 8pp
Ref: 224
Home Dean view full entry
Reference: Dean Home, Goya Gallery catalogue, with biography, 9 illustrations.
Publishing details: Goya Gallery, 2003
Ref: 224
Kemp Rogerview full entry
Reference: Recent Works, catalogue essay by Grazia Gunn.Biographical information and portrait.
Publishing details: Realities Gallery, 1986, 4pp
Ref: 137
Gerber Mathysview full entry
Reference: Mathys Gerber by Mathys Gerber Introduction by Pamela Hansford.
Publishing details: Newtown, N.S.W. : BARBERism for Sarah Cottier Gallery, c1995 
1 v. (unpaged) : col. ill. ; 25 cm. 

Ref: 1000
Gerber Mathysview full entry
Reference: Carole Roberts & Matthys Gerber, George Paton Gallery catalogue, essay by Pamela Hansford. Biographical details on each artist
Publishing details: George Paton Gallery , with Mori Gallery, c1989, 8pp
Ref: 224
Roberts Caroleview full entry
Reference: see Carole Roberts & Matthys Gerber, George Paton Gallery catalogue, essay by Pamela Hansford. Biographical details on each artist
Publishing details: George Paton Gallery , with Mori Gallery, c1989, 8pp
Woldendorp Richardview full entry
Reference: Richard Woldendorp, Boutwell Draper Gallery catalogue with essays by Gael Newton and John McDonald
Publishing details: Boutwell Draper Gallery, 2004, 8pp
Ref: 224
Jones Nolaview full entry
Reference: Nola Jones catalogue with biographical information and 3 illustrations
Publishing details: Rom Gallery, 1994, 6pp
Ref: 224
Cladwell Johnview full entry
Reference: The Colours of Black, paintings of the coalfields. with biographical details and essay by Lou Klepac. 35 works listed.
Publishing details: Ipswich City Council, Art Gallery, 1992,
Ref: 51
Scully Seanview full entry
Reference: Works on Paper, Dickerson Gallery exhibition catalogue wiyh biographical details and 4 illustrations
Publishing details: Dickerson Gallery , 2001, 4pp
Ref: 224
Gangoiti Andrewview full entry
Reference: Andrew Gangoiti catalogue with essay by Marie Sierra and biographical details
Publishing details: 200 Gertrude Street Gallery, 1996, 2pp
Ref: 224
Clutterbuck Jackview full entry
Reference: Unity wothin the void - Jock Clutterbuck, prints and sculpture 1968-1991. Touring Exhibition. Essay by Sheridan Palmer and biography.
Publishing details: Bendigo Art Gallery, 1997, 24pp
Ref: 51
Owen Gladys (1889-1960)view full entry
Reference: The Art of Gladys Owen Moore, OBE (1889-1960). An Exhibition in Retrospect. Arranged by Scott Erickson, Aust. Red Cross Society, Sydney. Biographical essay.
Publishing details: Red Cross House, Sydney, 1976, 12pp
Ref: 137
Kempf Franzview full entry
Reference: Recent Work. Catalogue with biographical information and essay by Sasha Grishin.
Publishing details: BMG Art, 1994, 4pp
Ref: 137
Furlonger Joe view full entry
Reference: Figure and Landscape - Works on Paper 1983-2002, essay byJohn McDonald. Biographical information
Publishing details: New Contemporaries Gallery, 2002, 6pp with invite.
Ref: 49
Public Sculpture in Melbourneview full entry
Reference: Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Ref: 137
Tonge Geraview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Hammond Stanleyview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Allen George Hview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Bass Tomview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Bowles William Leslieview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Duldig Karlview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Dutton Orlandoview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Ewers Raymondview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Gilbert Charles webview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
King Ingeview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Mackennal Bertramview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Meszaros Michaelview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Montford Paulview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Sculptureview full entry
Reference: see Public Sculpture in Melbourne - A tourist’s Guide. By Gera Tonge and Stanley Hammond M.B.E. both practicing sculptors. Illustrated and with biographies of 13 sculptors.
Publishing details: [Melbourne : s.n., 1985?] 
24 p. : ill., map
Terra Australis to Australia Conferenceview full entry
Reference: Terra Australis to Australia. Brochure announcing conference (Copy inserted in Terra Australis - The Furthest Shore, William Eisler (editor) and Bernard Smith [to be indexed]
Publishing details: Australian Academy of the Humanitues, c1985?
WHAT - What’s Here And Thereview full entry
Reference: WHAT - What’s Here And There, the first comprehensive guide to Australia’s cultural collections. [To be indexed]
Publishing details: Campbell Publishing for Council of the Australian Museum Association, 1988, 208pp with index.
Public Galleries in Australiaview full entry
Reference: see WHAT - What’s Here And There, the first comprehensive guide to Australia’s cultural collections.
Publishing details: Campbell Publishing for Council of the Australian Museum Association, 1988, 208pp with index.
Art Institutions in Australiaview full entry
Reference: see WHAT - What’s Here And There, the first comprehensive guide to Australia’s cultural collections.
Publishing details: Campbell Publishing for Council of the Australian Museum Association, 1988, 208pp with index.
Institutions supporting art in Australiaview full entry
Reference: see WHAT - What’s Here And There, the first comprehensive guide to Australia’s cultural collections.
Publishing details: Campbell Publishing for Council of the Australian Museum Association, 1988, 208pp with index.
Castlemaine Art Gallery & Historical Museumview full entry
Reference: Castlemaine Art Gallery & Historical Museum - Seventy-Five Years: 1913-1988
Publishing details: Castlemaine Art Gallery, 1988, 16pp
Barlow Elsie p2view full entry
Reference: see Castlemaine Art Gallery & Historical Museum - Seventy-Five Years: 1913-1988
Publishing details: Castlemaine Art Gallery, 1988, 16pp
Quinn Jamesview full entry
Reference: see Castlemaine Art Gallery & Historical Museum - Seventy-Five Years: 1913-1988
Publishing details: Castlemaine Art Gallery, 1988, 16pp
Wells S G cartoonview full entry
Reference: seeCastlemaine Art Gallery & Historical Museum - Seventy-Five Years: 1913-1988
Publishing details: Castlemaine Art Gallery, 1988, 16pp
Castlemaine Art Gallery and Museumview full entry
Reference: Castlemaine Art Gallery and Museum. Brief History and information about the collection. Lists of Life Members and subscribers. Catalogue of exhibition with 75 works listed. No biographical information.
Publishing details: Castlemaine Art Gallery and Museum, 1955, 12pp (edges of catalogue marked with ink)
Figure Theview full entry
Reference: The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Ref: 137
The Figure view full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Pedersen Lilianview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Anson-Vanbeek Nora Anneview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Bradbeer Godwinview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Carsley Garyview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Cavalieri Angelaview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Conway Sheilaview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Fransella Grahamview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Furlonger Joeview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Goodwin Richardview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Hodges Christopherview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Hollieview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Jenuarrieview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Lea Nerissaview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Lee Lindyview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Orchard Kenview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Littlejohn Vivienneview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Ramage Hughview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Ryder Monaview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Taylor Benview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Silver Annekeview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Thurgate Noelview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Wandijariview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
White Fionaview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Young Johnview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Young Johnview full entry
Reference: see The figure : the Andrew and Lilian Pedersen memorial prizes for drawing and printmaking 1987 / [text by Sue Smith ; compiled by Clare Williamson]. Biographies on Lilian Peresen and the 23 artists exhibiting.
Publishing details: Queensland Art Gallery, [1987] 
15 p. : ill. with bibliography.
Association of Sculptors Victoria Annual Exhibition 1990view full entry
Reference: Association of Sculptors, Victoria - Annual Exhibition 1990. Includes biography of the late Hermann Hohaus with 5 works exhibited. 90 works by other sculptors exhibited.
Publishing details: Association of Sculptors Victoria , 1990. 12pp
Ref: 102
Rivers in Australian Artview full entry
Reference: Rivers in Australian Art - from the National Australia Bank Collection. 30 Contemporary artists in exhibition. No biographical details.
Publishing details: Heide, 1991 (?) 22pp
Benalla Art Galleryview full entry
Reference: Benalla Art Gallery - The First Twenty Years 1968-1988, selected works from the Permanent Collection. Illustrated. No biographical information.
Publishing details: Benalla Art Gallery, 1988, 16pp
ANCA 1996 -Australian National Capital Artistsview full entry
Reference: ANCA 1996 : Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Ref: 224
Balcomb Anneview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Campbell Robynview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Casserly Peterview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Cooper Philview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Crisp Leeanneview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Dunn Glenview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
East Marionview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Evans Roslynview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Ferguson Davidview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Ford Noelview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Foster Robertview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Guthridge Ianview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Harry Patview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Holmes Cherylynnview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Horne Janiceview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Howlett Bruceview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Hueneke Annaview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Kelly Allanview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Kelso Mattview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Lamothe Lorraineview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Lovegrove Sueview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Moje Maschaview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Peoples Sharonview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Perry Lizview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Ramsey Simonview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Riedelbauch Gilbertview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Rowlands Sueview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Saab Zollyeview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Skyring Fayview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Smith Chrisview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Taylor Stephenview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Tazzyman Itzellview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Turner Lynview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Vance Johnview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Walsh Ionaview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Wolf Kirstenview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
Wullen Berendinaview full entry
Reference: ANCA 1996: Australian National Capital Artists / Canberra City Gallery. Biographical details on 30 artists.
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery, c1996 
v, 81 p. : ill
ANCA - Australian National Capital Artistsview full entry
Reference: ANCA - Australian National Capital Artists / Canberra City Gallery. (Biographical details on artists are usually included in catalogues and catalogues not already indexed are to be indexed)
Publishing details: Canberra : Pub. by Publications and Public Communication, [ACT Govt.] for Canberra City Gallery,
Women in Australian artview full entry
Reference: see Ladies in Landscape - The Nineteenth Anniversary Exhibition of The Ballarat Fine Art Gallery
Publishing details: Australian Council For The Arts, 1975, pb
Ballarat Art Galleryview full entry
Reference: see Ladies in Landscape - The Nineteenth Anniversary Exhibition of The Ballarat Fine Art Gallery
Publishing details: Australian Council For The Arts, 1975, pb
Gibson Aubrey Collectionview full entry
Reference: The Aubrey Gibson Collection - National Gallery of Victoria. 100 works in catalogue. essay by John Stringer on Aubrey Gibson. No biographical information on artists.
Publishing details: NGV, 1969, 20pp
Aubrey Gibson Collectionview full entry
Reference: see The Aubrey Gibson Collection - National Gallery of Victoria. 100 works in catalogue. essay by John Stringer on Aubrey Gibson. No biographical information on artists.
Publishing details: NGV, 1969, 20pp
Dent Johnview full entry
Reference: see Prints and Drawings - Curated by Maudie Palmer. Biographies on 8 artists.
Publishing details: Melbourne University Gallery, 1978, 12pp
Fair Fraserview full entry
Reference: see Prints and Drawings - Curated by Maudie Palmer. Biographies on 8 artists.
Publishing details: Melbourne University Gallery, 1978, 12pp
Gurvich Rafaelview full entry
Reference: see Prints and Drawings - Curated by Maudie Palmer. Biographies on 8 artists.
Publishing details: Melbourne University Gallery, 1978, 12pp
Kemp Michaelview full entry
Reference: see Prints and Drawings - Curated by Maudie Palmer. Biographies on 8 artists.
Publishing details: Melbourne University Gallery, 1978, 12pp
Moncrieff Gregview full entry
Reference: see Prints and Drawings - Curated by Maudie Palmer. Biographies on 8 artists.
Publishing details: Melbourne University Gallery, 1978, 12pp
Rosman Peterview full entry
Reference: see Prints and Drawings - Curated by Maudie Palmer. Biographies on 8 artists.
Publishing details: Melbourne University Gallery, 1978, 12pp
Scurry Johnview full entry
Reference: see Prints and Drawings - Curated by Maudie Palmer. Biographies on 8 artists.
Publishing details: Melbourne University Gallery, 1978, 12pp
van Riemsdyk Franview full entry
Reference: see Prints and Drawings - Curated by Maudie Palmer. Biographies on 8 artists.
Publishing details: Melbourne University Gallery, 1978, 12pp
Amble Jayneview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Bond Peterview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Chown Johnview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Coventry Virginoaview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Douglas Edview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Goddard Barrieview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Grounds Marrview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Holleley Douglasview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
McMillen Michaelview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Macqueen Maryview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Olsen Johnview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Rees Lloydview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Reisberg Leonieview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Robinson Sallyview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Schmeisser Jorgview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Silverman Lynnview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Willis Garyview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Wolseley Johnview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
Wolseley Johnview full entry
Reference: see The Centre : works on paper by contemporary Australian artists / exhibition organised and catalogue compiled by Alison Carroll. The works are focused on Central Australia. Includes bibliographical references.
Publishing details: Board of the Art Gallery of South Australia, 1984 
28 p
absreact artview full entry
Reference: see Form within Form - Charles Nodrum Gallery exhibition [abstract paintings]
Publishing details: October 1988, 39 exhibits, illustrated in b & w.
Charles Nodrum Galleryview full entry
Reference: Modern Australian paintings
Publishing details: Charles Nodrum Gallery, June-July, 1988, , 46 exhibits, illustrations,
Ref: 73
Sydney Beirut Beirut Sydneyview full entry
Reference: Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Incldes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Lebanese Artists Exhibiting in Australia. view full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Alwan Maro Fview full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Fahd Cherineview full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Cox Rickyview full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Larsen Piaview full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Watson Ruthview full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Dillon Damianview full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Laerkesen Adamview full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Jones Locustview full entry
Reference: see Sydney Beirut Beirut Sydney - Lebanese Artists Exhibiting in Australia. Includes Australian Artists Exhibiting in Lebanon. Includes artist’s statements and brief biographical information.
Publishing details: Casula Powerhouse, 1999, 8-page folding sheet.
Moon Arthur Alexanderview full entry
Reference: The Major Arthur Moon Collection : watercolours and drawings by artists in P.O.W. camps on the Burma-Thai Railway 1944-45 : catalogue of an exhibition held in the Queen's Hall, State Library of Victoria : 4 April-21 May 1995 / [curator and catalogue Mary Lewis]. The Moon Collection comprises works by four English POWs in Thailand - Ashley George Old, Keith Neighbour, Philip Meninsky and Jack Chalker. Sponsored by Australia Remembers 1945-1995.
Publishing details: The Library, 1995] 
14 p. : ill. (some col.),
Ref: 137
war artview full entry
Reference: see The Major Arthur Moon Collection : watercolours and drawings by artists in P.O.W. camps on the Burma-Thai Railway 1944-45 : catalogue of an exhibition held in the Queen's Hall, State Library of Victoria : 4 April-21 May 1995 / [curator and catalogue Mary Lewis]. The Moon Collection comprises works by four English POWs in Thailand - Ashley George Old, Keith Neighbour, Philip Meninsky and Jack Chalker. Sponsored by Australia Remembers 1945-1995.
Publishing details: The Library, 1995] 
14 p. : ill. (some col.),
Old Ashley Georgeview full entry
Reference: see The Major Arthur Moon Collection : watercolours and drawings by artists in P.O.W. camps on the Burma-Thai Railway 1944-45 : catalogue of an exhibition held in the Queen's Hall, State Library of Victoria : 4 April-21 May 1995 / [curator and catalogue Mary Lewis]. The Moon Collection comprises works by four English POWs in Thailand - Ashley George Old, Keith Neighbour, Philip Meninsky and Jack Chalker. Sponsored by Australia Remembers 1945-1995.
Publishing details: The Library, 1995] 
14 p. : ill. (some col.),
Neighbour Keith view full entry
Reference: see The Major Arthur Moon Collection : watercolours and drawings by artists in P.O.W. camps on the Burma-Thai Railway 1944-45 : catalogue of an exhibition held in the Queen's Hall, State Library of Victoria : 4 April-21 May 1995 / [curator and catalogue Mary Lewis]. The Moon Collection comprises works by four English POWs in Thailand - Ashley George Old, Keith Neighbour, Philip Meninsky and Jack Chalker. Sponsored by Australia Remembers 1945-1995.
Publishing details: The Library, 1995] 
14 p. : ill. (some col.),
Meninsky Philip view full entry
Reference: see The Major Arthur Moon Collection : watercolours and drawings by artists in P.O.W. camps on the Burma-Thai Railway 1944-45 : catalogue of an exhibition held in the Queen's Hall, State Library of Victoria : 4 April-21 May 1995 / [curator and catalogue Mary Lewis]. The Moon Collection comprises works by four English POWs in Thailand - Ashley George Old, Keith Neighbour, Philip Meninsky and Jack Chalker. Sponsored by Australia Remembers 1945-1995.
Publishing details: The Library, 1995] 
14 p. : ill. (some col.),
Chalker Jack view full entry
Reference: see The Major Arthur Moon Collection : watercolours and drawings by artists in P.O.W. camps on the Burma-Thai Railway 1944-45 : catalogue of an exhibition held in the Queen's Hall, State Library of Victoria : 4 April-21 May 1995 / [curator and catalogue Mary Lewis]. The Moon Collection comprises works by four English POWs in Thailand - Ashley George Old, Keith Neighbour, Philip Meninsky and Jack Chalker. Sponsored by Australia Remembers 1945-1995.
Publishing details: The Library, 1995] 
14 p. : ill. (some col.),
Australian modernism : the complexity and the diversityview full entry
Reference: Australian modernism : the complexity and the diversity / by Helen Rayment ; text by Lauraine Diggins and Helen Rayment. Exhibition "Thursday 30th July-Friday 28th August, 1992." Bibliography: p. 51-52. Includes biographical information on the artists exhibited who are all well known.
Publishing details: North Caulfield, Vic. : Lauraine Diggins Fine Art Pty. Ltd., 1992 
52 p. : chiefly col. ill., ports.
Five Artists from Heidelbergview full entry
Reference: Five Artists from Heidelberg, exhibition catalogue from Banyule Gallery, 86 exhibits no biographical information.
Publishing details: Banyule Gallery, nd (1970s?) 7pp.
Ref: 137
Griffin Murrayview full entry
Reference: Five Artists from Heidelberg, exhibition catalogue from Banyule Gallery, 86 exhibits no biographical information.
Publishing details: Banyule Gallery, nd (1970s?) 7pp.
Harcourt Clewinview full entry
Reference: Five Artists from Heidelberg, exhibition catalogue from Banyule Gallery, 86 exhibits no biographical information.
Publishing details: Banyule Gallery, nd (1970s?) 7pp.
Macgeorge Normanview full entry
Reference: Five Artists from Heidelberg, exhibition catalogue from Banyule Gallery, 86 exhibits no biographical information.
Publishing details: Banyule Gallery, nd (1970s?) 7pp.
McInnes W Bview full entry
Reference: Five Artists from Heidelberg, exhibition catalogue from Banyule Gallery, 86 exhibits no biographical information.
Publishing details: Banyule Gallery, nd (1970s?) 7pp.
Waller M Napierview full entry
Reference: Five Artists from Heidelberg, exhibition catalogue from Banyule Gallery, 86 exhibits no biographical information.
Publishing details: Banyule Gallery, nd (1970s?) 7pp.
Savill Galleriesview full entry
Reference: Australia's most wanted : Savill Galleries 2005. Catalogue of an exhibition held at Savill Galleries, Sydney, 3 March - 2 April 2005 and Melbourne, 6 March - 3 April 2005.

Publishing details: Savill Galleries, [2005] 
1 v. (unpaged) : ill. ; 30 cm.
Ref: 68
Flower Cedricview full entry
Reference: see Australia's most wanted : Savill Galleries 2005. Catalogue of an exhibition held at Savill Galleries, Sydney, 3 March - 2 April 2005 and Melbourne, 6 March - 3 April 2005.

Publishing details: Savill Galleries, [2005] 
1 v. (unpaged) : ill. ; 30 cm.
Roxburgh Rachelview full entry
Reference: see Australia's most wanted : Savill Galleries 2005. Catalogue of an exhibition held at Savill Galleries, Sydney, 3 March - 2 April 2005 and Melbourne, 6 March - 3 April 2005.

Publishing details: Savill Galleries, [2005] 
1 v. (unpaged) : ill. ; 30 cm.
Lauraine Diggins Fine Artview full entry
Reference: Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Ref: 63
Rowe George essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.
Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
van den Houten H L brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.
Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Jones Henry Gilbert brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.
Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Prout John Skinner essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.
Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Peacock George Edward essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.
Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Burn Henry brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Flintoff Thomas brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Lacy George brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
von Guerard Eugene brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Clark Thomas essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Gritten Henry C extended essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Whitehead Isaac extended essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Chevalier Nicholas brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Parris Henry F brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Morrison J C portrait 1889 but no info.view full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Commins J A brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Reilly Henry brief essayview full entry
Reference: see Australian colonial fine arts : paintings, furniture & silver / Lauraine Diggins Gallery. Includes colour illustration and biographical information on artists.

Publishing details: Lauraine Diggins Fine Art, 1986 
46 p. : ill. (some col.)
Australian Outback Paintersview full entry
Reference: Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Ref: 137
Brushmen of the Bushview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Absalom Jackview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Schulz Hughview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Hart Proview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Minchin Ericview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Sawrey Hughview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Guy Johnview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Lennox Johnview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Pickup Johnview full entry
Reference: see Australian Outback Painters - featuring woks by The Brushmen of the Bush, presented by Curramundi in connection with the Rotary Club of Gisborne. No biographical information.
Publishing details: catalogue not dated (1980s?) 4pp
Charles Nodrum Galleryview full entry
Reference: Modern Australian paintings 1935-1975, 52 exhibits, no biographical information.
Publishing details: Charles Nodrum Gallery, May 1985, b&w illustrations,
Ref: 73
Charles Nodrum Galleryview full entry
Reference: Modern Australian paintings, 50 exhibits, no biographical information.
Publishing details: Charles Nodrum Gallery, November, 1985, b&w illustrations,
Ref: 73
Society of Artists NSWview full entry
Reference: Society of Artists NSW, 1962 original catalogue. includes essay on Thea Proctor by Roland Wakelin.
Publishing details: filed with photocopies of all catalogues in Scheding Library
Wakelin Rolandview full entry
Reference: Society of Artists NSW, 1962 original catalogue. includes essay on Thea Proctor by Roland Wakelin.
Publishing details: filed with photocopies of all catalogues in Scheding Library
Proctor Theaview full entry
Reference: Society of Artists NSW, 1962 original catalogue. includes essay on Thea Proctor by Roland Wakelin.
Publishing details: filed with photocopies of all catalogues in Scheding Library
Arkley Howardview full entry
Reference: see ANZARTAustralian & New Zealand Artists in Edinburgh. Includes biographical information on exhibiting artists.
Publishing details: Visual Arts Board of the Australia Council, 1984, 93pp
Jones Lyndalview full entry
Reference: see ANZARTAustralian & New Zealand Artists in Edinburgh. Includes biographical information on exhibiting artists.
Publishing details: Visual Arts Board of the Australia Council, 1984, 93pp
Lethbridge Johnview full entry
Reference: see ANZARTAustralian & New Zealand Artists in Edinburgh. Includes biographical information on exhibiting artists.
Publishing details: Visual Arts Board of the Australia Council, 1984, 93pp
Lowe Geoffview full entry
Reference: see ANZARTAustralian & New Zealand Artists in Edinburgh. Includes biographical information on exhibiting artists.
Publishing details: Visual Arts Board of the Australia Council, 1984, 93pp
Marrinon Lindaview full entry
Reference: see ANZARTAustralian & New Zealand Artists in Edinburgh. Includes biographical information on exhibiting artists.
Publishing details: Visual Arts Board of the Australia Council, 1984, 93pp
Rooney Robertview full entry
Reference: see ANZARTAustralian & New Zealand Artists in Edinburgh. Includes biographical information on exhibiting artists.
Publishing details: Visual Arts Board of the Australia Council, 1984, 93pp
Lewitt Vivian Sharkview full entry
Reference: see ANZARTAustralian & New Zealand Artists in Edinburgh. Includes biographical information on exhibiting artists.
Publishing details: Visual Arts Board of the Australia Council, 1984, 93pp
Tyndall Peterview full entry
Reference: see ANZARTAustralian & New Zealand Artists in Edinburgh. Includes biographical information on exhibiting artists.
Publishing details: Visual Arts Board of the Australia Council, 1984, 93pp
Mitchell Library historyview full entry
Reference: see Magnificent obsession : the story of the Mitchell Library, Sydney by Brian H. Fletcher. [’"The Mitchell Library is based on the collection of David Scott Mitchell, Australia's first and greatest collector of Australiana. The Library was opened in 1910 with the exceedingly generous endowment of 70,000 pounds from David Mitchell, and many thousands of items have been added to the Library since it opened. The collection continues to grow and now contains over 800,000 objects, documents, and books. The Library is a major centre for research into Australian history and culture, and this book, detailing the Mitchell's history and the significance of its collection, documents an important though unsung Australian institution."--Provided by
‘]
Publishing details: Crows Nest, N.S.W. : Allen & Unwin in association with State Library of New South Wales, 2007., xvi, 512 pages, 16 unnumbered pages of plates : illustrations (some colour), portraits, with index

State library of New South Wales historyview full entry
Reference: see Magnificent obsession : the story of the Mitchell Library, Sydney by Brian H. Fletcher. [’"The Mitchell Library is based on the collection of David Scott Mitchell, Australia's first and greatest collector of Australiana. The Library was opened in 1910 with the exceedingly generous endowment of 70,000 pounds from David Mitchell, and many thousands of items have been added to the Library since it opened. The collection continues to grow and now contains over 800,000 objects, documents, and books. The Library is a major centre for research into Australian history and culture, and this book, detailing the Mitchell's history and the significance of its collection, documents an important though unsung Australian institution."--Provided by
‘]
Publishing details: Crows Nest, N.S.W. : Allen & Unwin in association with State Library of New South Wales, 2007., xvi, 512 pages, 16 unnumbered pages of plates : illustrations (some colour), portraits, with index

Radvanyi Kalman view full entry
Reference: see Smalls Auction, Sydney, February 2, 2019, lot 56: Impressive Marquetry Panel of the Vaulted Ceilings of a Gothic Cathedral by noted artist Kalman Radvanyi (Senior). Description: Kalman sources hundreds of different types of wood from across the globe to carefully construct his highly detailed architectural representations.
Notes: The Hungarian-born artist Kalman Radvanyi has received numerous commissions to provide marquetry panels for important public spaces in Australia. His works have also received major International Art awards including the 1996 Grand Gold Medal of the 30th Salon Art Exhibition, Art Centre Rive-de-Gier, France as well as the 1996 Gold Medal at the 17th International Art Exhibition at the Pierre Cardinal Centre in Le Puy, France. Dimensions: Measures 90cms x 90cms
Storey Elizaview full entry
Reference: STOREY, Elza. EVE’S AFFAIRS. Decorated by the author. B/w decorations throughout and splendidly decorated boards with screen printed design.
Publishing details: Syd. P.R.Stephensen. 1934. Or.qt.cl. Dustjacket. 237pp.
Ref: 1000
Parkinson Sydneyview full entry
Reference: A Journal of a Voyage to the South Seas…
Sydney Parkinson. 26 engraved plates
Publishing details: London: C. Dilly and J. Phillips, 1784.
Quarto, second enlarged edition,

Ref: 1000
King Christopher George (1865-1928)
view full entry
Reference: Christopher George King, National Game Company lithographed printer’s proof for board games. [From Douglas Stewart Fine Books, February, 2019: A rare printer’s proof for the game board and box designs for a Compendium of Games published by the National Game Company in 1911, and addressed to the company’s chief designer Christopher George King.
‘National Games of Ballarat and Melbourne produced a wide range of games mainly during the early half of the 20th century in Australia. The company had its beginnings in Ballarat by W. Owen in 1877, growing to prominence towards the end of the century and has been credited to have been the first large-scale Australian manufacturer of locally-designed board games. Application for the actual trademark name National was recorded in 1899 by Christopher George King.
Games were often related to Australia’s love for recreation and sport; such as cycling, golf, football, tennis and cricket, as well as various forms of racing such as motorcars, aeroplanes, horse or yachting. Contemporary themes of the period produced games such as the exploration of Antarctica, World War I, the Boer War and the boy scouts. Games that reinforced the moralilty of the times included courtship and marriage, snakes and ladders and Fairytales and fables. The design of the boards was colourful and attractive. Many of the games were obviously re-vamped over time with more suitable modern graphics for the changing eras.
Christopher George King has been acknowledged as the designer and manufacturer of the games made by the National Games Company. He designed the board games from around the early 1900’s till the late 1920’s and copyrights can be found in the National Archives of Australia. He is listed in the Victorian electoral rolls as a manufacturer living in Melbourne during the early part of the 20th Century. He was born in England, and died at the age of 63 in 1928.
The National Game Co. continued to issue board games as late as the 1940s.’ – Board Game Geek blog https://boardgamegeek.com/boardgamepublisher/5874/national-game-company.’]
 

Publishing details: National Game Company, 1911]. Lithograph, printed in colour and gold ink, measures 750 x 1010 mm (sheet), folded to 190 x 260 mm; addressed on reverse to C. G. King Esq. of Hawthorn (Melbourne), with stamp postmarked 8MR11 [8 March 1911], pencil annotations ‘April 1911 5225′ and ’72 Ludo 2; 36 Courtship 1; 36 Snake 1; 18 Drafts 1/2’; 
Ref: 1000
Lake Jview full entry
Reference: A Booke of Ye Olde Englishe fayre, illustrations by J. Lake printed lithographically by F. W. Niven; includes advertisements for Ballarat businesses (many full page)
[From Douglas Stewart Fine Books, February, 2019: The foreword to this ephemeral (and consequently little-known) Ballarat imprint acknowledges that the publication was inspired by one which had been produced to coincide with a similar event held in Melbourne in the previous year, also called Ye Olde Englishe Fayre, which had been staged at the Melbourne Town Hall. Both the Melbourne and Ballarat events provided popular amusement and entertainment for the general public, with a theme based around the traditional English fair.
The Ballarat Fayre was staged in the Alfred Hall, a magnificent building constructed in only two months in 1867 to host the public appearance of Alfred, the Duke of Edinburgh, which could accommodate 7000 visitors (the site is now a car park and retail outlet). This publication contains a plan showing the layout of the various stalls and events and includes exhaustive lists of all the adults and children involved in the various activities, which included musical entertainment, fortune-telling, traditional games, food stalls, and a Christmas tree display. There are many short contributions by numerous Ballarat identities, including humorous pieces, puzzles, verse, and historical sketches concerning English customs.
Rare. Only two copies are recorded in Australian collections (State Library of Victoria; State Library of New South Wales).’]
Publishing details: Ballarat [Vic.] : Imprinted bye James Curtis, of ye Caxton Works, [1882]. Quarto, printed illustrated cards (soiled and chipped), cloth spine, pp. 70,
Ref: 1000
Namatjira Albertview full entry
Reference: exhibition catalogue. November 18th 1946 to November 29th 1946 under direction Claude Hotchin, Esq. list of 33 works with prices in guineas, catalogue for an exhibition organised by the noted Western Australian art collector and philanthropist Claude Hotchin, the year before he opened his galleries in Hay Street.’ From Douglas Stewart Fine Books, February, 2019.

Publishing details: Exhibition catalogue, octavo, buff sheet folded, pp. [4],
Ref: 1000
Hotchin Claude view full entry
Reference: see exhibition catalogue. November 18th 1946 to November 29th 1946 under direction Claude Hotchin, Esq. list of 33 works with prices in guineas, catalogue for an exhibition organised by the noted Western Australian art collector and philanthropist Claude Hotchin, the year before he opened his galleries in Hay Street.’ From Douglas Stewart Fine Books, February, 2019.

Publishing details: Exhibition catalogue, octavo, buff sheet folded, pp. [4],
Sibley Irenaview full entry
Reference: William, the wizard who wasn’t by Irena Sibley
Publishing details: Fitzroy, Vic. : The Five Mile Press, 1989. First trade edition
Ref: 1000
Nolan Sidneyview full entry
Reference: Sidney Nolan. Baptism & Flowers
text quoted from Elwyn Lynn and Robert Melville.
Publishing details: Sydney : Rudy Komon Art Gallery, circa 1978. ilustrated sheet, folded to make an exhibition catalogue, colour plate tipped-on,
Ref: 1000
Nolan Sidneyview full entry
Reference: Exhibition of drawings by Sidney Nolan
Sydney : catalogue of 38 works. The final exhibition at Kym Bonython’s Hungry Horse Art Gallery.
Publishing details: Hungry Horse Gallery, 1967. Octavo, folded card (foxed), pp. [4],
Ref: 1000
Hungry Horse Galleryview full entry
Reference: see Exhibition of drawings by Sidney Nolan
Sydney : catalogue of 38 works. The final exhibition at Kym Bonython’s Hungry Horse Art Gallery.
Publishing details: Hungry Horse Gallery, 1967. Octavo, folded card (foxed), pp. [4],
Nolan Sidneyview full entry
Reference: Sidney Nolan. Asian and Promethean studies [16], catalogue of works.
Publishing details: Canberra : Australian National University, 1967. Oblong octavo, lettered wrappers, pp.
Ref: 1000
Nolan Sidneyview full entry
Reference: Paintings and tapestries by Sidney Nolan
four black and white plates of Nolan’s Miner series.
Publishing details: Sydney : David Jones’ Art Galleru, 1973. Quarto, illustrated wrappers, pp. [8],
Ref: 1000
Whiteley Brettview full entry
Reference: Tangier to Byron Bay: Brett Whiteley’s travels 1960-1992
essay by Barry Pearce.
Publishing details: [Sydney : Art Gallery of New South Wales], 1999. Quarto, Illustrated wrappers, bifold,
Ref: 1000
Henson Billview full entry
Reference: Bill Henson by Michael Heyward.
‘His powerful and edgy images approach the painterly and the cinematic, bringing formal and classical qualities to the gritty, casual dramas of the everyday. This publication presents a selection of images, compiled by the artist, that range from sublime landscapes and nudes to classical sculpture shown in museum settings, all heightened by the velvet-like blackness of the shadows and the striking use of chiaroscuro to selectively obscure and reveal form. Henson’s nudes portray his subjects as self-contained, focused on internal reveries; his landscapes are photographed at twilight, underscoring the transitional mood of the moment; and his museum images juxtapose graceful marble statues against the transfixed visitors observing them. Beautiful, enigmatic and unforgettable, Henson’s images enliven our own sense of being.’ – the publisher.
Catalogue of an exhibition held at NGV International, Melbourne, 10 March – 27 August 2017 and the Art Gallery of Western Australia, 16 September – 11 December 2017


Publishing details: Melbourne : National Gallery of Victoria, 2017. Quarto, boards in dustjacket, pp. 75, illustrated.
Ref: 1000
Nolan Sidneyview full entry
Reference: Sidney Nolan. For the term of his natural life / 31 drawings, catalogue of 31 works.
Publishing details: Tharwa, ACT : The Nolan Gallery, 1981. Poster, printed in colour, folded to make an exhibition catalogue,
Ref: 1000
Nolan Sidneyview full entry
Reference: Sidney Nolan. An exhibition of recent African paintings
catalogue of 34 works.
Publishing details: Adelaide : Bonython Art Gallery, 1964. Quarto, illustrated card, pp. [4],
Ref: 1000
Nolan Sidneyview full entry
Reference: Sidney Nolan retrospective exhibition, text by Kenneth Clark, black and white illustrations.
Publishing details: Folkestone : The Arts Centre, 1970. Quarto, illustrated wrappers, pp. [20,
Ref: 1000
Parr Mikeview full entry
Reference: Mike Parr. Artist in Residence 1990/91

Publishing details: Melbourne : University of Melbourne Museum of Art, 1991. Quarto, lettered wrappers, pp. 28, illustrated. Edition of 1000 copies
Ref: 1000
Nolan Sidneyview full entry
Reference: Sidney Nolan. Foreword by R. G. Casey, list of 16 paintings, catalogue of Central Australian landscapes.

Casey writes that Nolan, “may well be the man we have been hoping would arise – someone who is capable of expressing with size and vision what many Australian’s feel, and deeply feel, about this great and unusual country.’

Publishing details: Melbourne : Stanley Coe Galleries, 1950. Octavo, folding sheet, pp. [4].
Ref: 1000
Federation house Theview full entry
Reference: FRASER, Hugh; JOYCE, Ray
The Federation house. Australia’s own style

Publishing details: Sydney : Weldon, 1986. First edition. Quarto, boards in dustjacket, pp. 127, illustrated.
Ref: 1000
architectureview full entry
Reference: see FRASER, Hugh; JOYCE, Ray
The Federation house. Australia’s own style

Publishing details: Sydney : Weldon, 1986. First edition. Quarto, boards in dustjacket, pp. 127, illustrated.
Sixty home plansview full entry
Reference: [HORWITZ, Israel, ed.]; ASSOCIATED GENERAL PUBLICATIONS PTY. LTD.
Sixty home plans. Cover: 60 home plans. photographic illustrations and line-drawn architectural plans throughout; includes advertisements
Publishing details: Sydney : Associated General Publications, Ltd., 1950. “Sixth, revised edition.” Quarto, publisher’s pictorial stiff wrappers (lightly creased), 106 pp,
Ref: 1000
architectureview full entry
Reference: see [HORWITZ, Israel, ed.]; ASSOCIATED GENERAL PUBLICATIONS PTY. LTD.
Sixty home plans. Cover: 60 home plans. photographic illustrations and line-drawn architectural plans throughout; includes advertisements
Publishing details: Sydney : Associated General Publications, Ltd., 1950. “Sixth, revised edition.” Quarto, publisher’s pictorial stiff wrappers (lightly creased), 106 pp,
Gould Johnview full entry
Reference: John Gould, Birds in Color, portfolio of 10 colorful prints by John Gould depicting birds from Australia and New Guinea. Published by Camilla Lucas, 1950, with introduction by Phyllis Lucas. In a light orange folio, with colophon page. Portfolio includes the following prints:


No. 601 -- Rose-Breasted Cockatoo (New Guinea)

No. 602 -- Leadbeater's Cockatoo (New Guinea)

No. 603 -- Red-capped Parrakeet (Australia)

No. 604 -- Rose-hill Parrakeet (Australia)

No. 605 -- Splendid Grass Parrakeet (Australia)

No. 606 -- Alexandra Parrakeet (Australia)

No. 607 -- King Lory (Australia)

No. 608 -- Barraband's Parrakeet (Australia)

No. 609 -- Beautiful Parrakeet (Australia)

No. 610 -- Barnard's Parrakeet (Australia)

Dimensions: 12 x 9"
Publishing details: Published by Camilla Lucas, 1950,
Ref: 1000
Slater Tonyview full entry
Reference: TONY SLATER - Verandah Figure Bush
Defiance Gallery at Mary Place
12 Mary Place, Paddington
OPENING  11am to 3 pm Sunday 10 February 2019. EXHIBITION DATES  13 February to 7 March 2019
[’The verandah has all sorts of resonance in Australia. For a start it is a good place for a glass or two. It is also a place of demarcation between the built and the natural, the known and the unknown, the safe and the wild. Possible some of that is in these paintings, after all they were made here.

But more important is the light. Midday the sun's brightness can flatten and almost dull the scene, later, objects are sculpted and chopped, edited by shadows. The colours deepen. Later still, single items are spotlit against a luminous glow.

In Australia light is always the subject.

But what about the figures? Despite their substance they look unsure. Are they contemplating the future, noticing something out of place or are they just looking?

What we do have here is the moment when a thought becomes, not an action, but a gesture.’]

Publishing details: Defiance Gallery at Mary Place
12 Mary Place, Paddington, 2019
Ref: 1000
Shirlaw George 1934-2005 view full entry
Reference: see Grand Auctions UK, 18 February, 2019, lot 49: Shirlaw, George 1934-2005 British AR, Self Portrait. 29.5 x 18 ins., (75 x 45.5 cms.), Pencil and Charcoal, Signed and Dated 1975.Shirlaw was a fascinating character. He was friends with John Bratby and was clearly influenced by him. George enjoyed more fifty one one-man exhibitions in the UK, Spain, United States, Australia and France. George had the misfortune to witness his father being decapitated and his mother being tortured and killed by the Japanese in the war. The two extra images are not for sale, Bratby by Shirlaw and Shirlaw by Bratby
Ellis Edwina b 1946view full entry
Reference: see Litchfield Auctions, USA, 24 Feb 2019, lot 545: Edwina Ellis, b. 1946 Australia, active Great Britain, "Freesia Dark", engraving, pencil signed, numbered 25/30, and titled; accompanied by a 1993 fanfold from London's Duncan Campbell gallery with this print illustrated. NOTE: we believe this print has never appeared at auction. The artist has a immensely successful career in Great Britain as a designer, printmaker, and engraver, most notably for one-pound British coins with linocut and a recent British two pound coin on an iPad.
see http://edwinaellis.co.uk/contacts
Dimensions: 6.5x4, sheet 10.25x7.25, unmatted and unframed
Property Title: From the Estate of Barbara Farnsworth of West Cornwall, CT. She was the life partner of the late Harry L. Colley II. Barbara was born on June 18th 1934 in New York City, the daughter of the late William and Margaret (Leczer) Blaha. Barbara graduated from Middlebury College in 1955 and worked as an oil and gas researcher at McGraw Hill. She married Clyde H. Farnsworth on September 3, 1956. They moved to Europe in 1963 where Clyde was a New York Times foreign correspondent in London, Brussels and Paris, and Barbara worked as a correspondent for the Economist magazine. In 1978, Barbara returned to the United States and acquired Martin Gold's book shop in West Cornwall. Over the next 40 years, as a member of ABAA, she grew the business into one of the most respected antiquarian bookstores in America.
(BFAR3032/2) (TC)
Jeffreys Charlesview full entry
Reference: see Colville Auctions, Hobart, March 5, 2019,, lot 39: Charles Jeffreys (1782 - 1826)
Lot 39: Hobart Town in 1817. Description: Charles Jeffreys (1782-1826) British Australia - Hobart Town in 1817. A Sketcher, author and naval officer, Charles Jeffreys entered the Royal Navy aged 111 and was commissioned Lieutenant in March 1805. He came to New South Wales in January 1814 as a Commander on the Brig ‘Kangaroo’ which was immediately commissioned to transport convicts from Port Jackson to Van Dieman’s Land. Governor Macquarie labelled him ‘a vain, conceited and ignorant young man’,. While in His Majesty’s Service, Jeffreys indulged in illicit rum smuggling, turning a blind eye to convict stowaways on board and accepting an escaped government debtor as a paying passenger. He drew a sketch of Hobart Town in 1817, the present work, and wrote a book ‘Geographical and Descriptive Delineations of the Island of Van Dieman’s Land’ published in London 1820 which was later claimed to have been stolen from George Williams Evans. He arrived back with his wife in May 1820 as a settler and was granted 800 acres at Pittwater near Hobart. He died there on 12 May 1826 and was buried at Sorrell.Charles Jeffreys (1782-1826) British Australia - Hobart Town in 1817. A Sketcher, author and naval officer, Charles Jeffreys entered the Royal Navy aged 111 and was commissioned Lieutenant in March 1805. He came to New South Wales in January 1814 as a Commander on the Brig ‘Kangaroo’ which was immediately commissioned to transport convicts from Port Jackson to Van Dieman’s Land. Governor Macquarie labelled him ‘a vain, conceited and ignorant young man’,. While in His Majesty’s Service, Jeffreys indulged in illicit rum smuggling, turning a blind eye to convict stowaways on board and accepting an escaped government debtor as a paying passenger. He drew a sketch of Hobart Town in 1817, the present work, and wrote a book ‘Geographical and Descriptive Delineations of the Island of Van Dieman’s Land’ published in London 1820 which was later claimed to have been stolen from George Williams Evans. He arrived back with his wife in May 1820 as a settler and was granted 800 acres at Pittwater near Hobart. He died there on 12 May 1826 and was buried at Sorrell.Charles Jeffreys (1782-1826) British Australia - Hobart Town in 1817. A Sketcher, author and naval officer, Charles Jeffreys entered the Royal Navy aged 111 and was commissioned Lieutenant in March 1805. He came to New South Wales in January 1814 as a Commander on the Brig ‘Kangaroo’ which was immediately commissioned to transport convicts from Port Jackson to Van Dieman’s Land. Governor Macquarie labelled him ‘a vain, conceited and ignorant young man’,. While in His Majesty’s Service, Jeffreys indulged in illicit rum smuggling, turning a blind eye to convict stowaways on board and accepting an escaped government debtor as a paying passenger. He drew a sketch of Hobart Town in 1817, the present work, and wrote a book ‘Geographical and Descriptive Delineations of the Island of Van Dieman’s Land’ published in London 1820 which was later claimed to have been stolen from George Williams Evans. He arrived back with his wife in May 1820 as a settler and was granted 800 acres at Pittwater near Hobart. He died there on 12 May 1826 and was buried at Sorrell.Charles Jeffreys (1782-1826) British Australia - Hobart Town in 1817. A Sketcher, author and naval officer, Charles Jeffreys entered the Royal Navy aged 111 and was commissioned Lieutenant in March 1805. He came to New South Wales in January 1814 as a Commander on the Brig ‘Kangaroo’ which was immediately commissioned to transport convicts from Port Jackson to Van Dieman’s Land. Governor Macquarie labelled him ‘a vain, conceited and ignorant young man’,. While in His Majesty’s Service, Jeffreys indulged in illicit rum smuggling, turning a blind eye to convict stowaways on board and accepting an escaped government debtor as a paying passenger. He drew a sketch of Hobart Town in 1817, the present work, and wrote a book ‘Geographical and Descriptive Delineations of the Island of Van Dieman’s Land’ published in London 1820 which was later claimed to have been stolen from George Williams Evans. He arrived back with his wife in May 1820 as a settler and was granted 800 acres at Pittwater near Hobart. He died there on 12 May 1826 and was buried at Sorrell.Charles Jeffreys (1782-1826) British Australia - Hobart Town in 1817. A Sketcher, author and naval officer, Charles Jeffreys entered the Royal Navy aged 111 and was commissioned Lieutenant in March 1805. He came to New South Wales in January 1814 as a Commander on the Brig ‘Kangaroo’ which was immediately commissioned to transport convicts from Port Jackson to Van Dieman’s Land. Governor Macquarie labelled him ‘a vain, conceited and ignorant young man’,. While in His Majesty’s Service, Jeffreys indulged in illicit rum smuggling, turning a blind eye to convict stowaways on board and accepting an escaped government debtor as a paying passenger. He drew a sketch of Hobart Town in 1817, the present work, and wrote a book ‘Geographical and Descriptive Delineations of the Island of Van Dieman’s Land’ published in London 1820 which was later claimed to have been stolen from George Williams Evans. He arrived back with his wife in May 1820 as a settler and was granted 800 acres at Pittwater near Hobart. He died there on 12 May 1826 and was buried at Sorrell.
Dimensions: 29 x39cm (sight) 45 x 58cm (fr)
Artist or Maker: Charles Jeffreys (1782-1826) British Australia
Medium: Print Ed 41/100
Date: c2008
Richardson George Bouchierview full entry
Reference: see see Colville Auctions, Hobart, March 5, 2019, Lot 44: G B Richardson (Working c1854) Australia
Creek and Old Watering Stage Yarra
1854
Sepia wash, ink
18 x 22cm (sight) 44 x 47cm (fr)
Condition Excellent
Provenance Inscribed verso 'Creek and Old Watering stage, on the Yarra past Collingwood 1854. /Trees, stage, etc have long since disappeared. / Creek itself now being filled in 1903
Signed title and dated verso
Mora Mirkaview full entry
Reference: The Magical Studio of Mirka Mora - Curated in collaboration with the artist’s family, The Magical Studio of Mirka Mora, which comprises almost 800 lots - including works of art, ceramics, art materials and furniture - will recreate the spirit of the artist's home-studio.

Follow us on Instagram (@leonardjoelauctions) to hear more about the auction and a very exciting competition to be announced later this week.


Auction in Melbourne, Sunday 3 March, 2019
Publishing details: Joels, 2019.
Ref: 1009
Nonpariel Photographic Coview full entry
Reference: see Douglas Stewart Fine books Feb., 2019 catalogue:

[Cover title]. [Fremantle? Perth?] : The Nonpariel Photographic Co., [1892]. Late nineteenth century album, oblong quarto (245 x 310 mm), original blind blocked pebbled cloth boards (a little bowed, some flecking and mild staining), upper board with original red morocco title label lettered in gilt ‘Views of Fremantle, Western Australia by The Nonpariel Photographic Co.’; floral-patterned lining papers (foxed), [12] uncaptioned albumen print photographs in uniform format 155 x 205 mm, mounted on rectos of 12 leaves of gilt-edged card, with the following subjects: [1] View of vessels loading cargo at the main pier; [2 & 3] Views of the inner harbour from the Round House; [4] View looking north across the railway goods yards; [5] View of the outer harbour; [6] View along Queen Street from the railway line towards Kings Square; [7] View along High Street looking towards the harbour (?); [8] View of the T.W. Mews shipyard in Bathers Bay, with the second lighthouse built on Arthur Head in the background; [9] View looking northwest along William Street towards the Town Hall; [10] View overlooking Fremantle from the southeast; [11] View of the Swan River from the East Fremantle foreshore; [12] View of Fremantle Old Traffic Bridge; the first albumen print and its mount with mild foxing, otherwise the prints and mounts are in good condition throughout; the prints with occasional slight loss of contrast, but generally strong and with excellent detail.
We can find precious little information about the little-known The Nonpariel Photographic Company, which was presumably based in either Fremantle or Perth. This is very possibly due to the company’s misspelling of its own name, since a search of Western Australian newspapers of the late nineteenth century using the journalist-corrected spelling of the word Nonpareil leads us to a notice that appeared in The West Australian on 12 and 13 February 1892, regarding this very album:
‘WE have received from the Nonpareil Photographic Company, through their Fremantle representative, Mr. W. J. Gardiner, a beautifully mounted book of Fremantle views. The pictures are faithfully and clearly taken, and the collection altogether is one which will afford a pleasing memento of the port and its environs.’
The Battye Library (SLWA) holds the only example of this album in Australian collections (call no. 4884B), for which the catalogue entry gives an earlier (and apparently incorrect) estimated date range of 1880-1889. The Battye album is the only other surviving example of the album we can trace. Furthermore, only three individual photographs by the Nonpariel Photographic Co. – all with Perth or Fremantle subjects – are listed on Trove (again, all of these are held in the Battye Library).
:


DUFTY E H (Edward Henry) 1850-1905 (attributed)
view full entry
Reference: see Douglas Stewart Fine books Feb., 2019 catalogue: A Kanak warrior posing with a bird-headed war club, New Caledonia, late 1870s. - Albumen print photograph, carte de visite format, 103 x 65 mm (mount); verso with contemporary inscription in ink: ‘”Kafaya”, son of a New Caledonian chief’; no photographer’s imprint; the albumen print in very good condition, with a couple of tiny marks on the left edge; the mount is clean and free from foxing.
This photograph of an identified young Kanak warrior was almost certainly taken in the Nouméa studio of E.H. Dufty between 1875 and 1880. It was sourced along with several other photographs of New Caledonian subjects which had the E.H. Dufty studio back mark.
Born in England and each migrating to Australia during the mid nineteenth century, the four Dufty brothers were to make a substantial contribution to the photographic record of indigenous peoples of Fiji and New Caledonia. Edward Henry Dufty (1850-1905) arrived in Melbourne in 1865. Along with his brother Walter, who came to Australia in 1871, Edward settled in New Caledonia in the early 1870s, where the pair set up a portrait studio. Their brothers Frank and Alfred established themselves in Fiji from 1871. At their studio in Nouméa, Edward and Walter devoted much attention to photographing the indigenous Kanak people of New Caledonia. After 1875, when Walter left New Caledonia for Norfolk Island, Edward continued to run the Nouméa studio by himself; the studio imprint on portraits from the late 1870s bears his name alone.
 

DUFTY Francis Herbert (1846-1910)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
PAINE John (1833-1908)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
WINTER Alfred (1837-1911)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
GORUS JOHN Tview full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
CLIFFORD Robert (c1842-1905)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
DEASE STUDIOview full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
MOORE R P (Robert Percy) (1881-1948)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
HUGHAN Allan (1834-1883)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
ADELAIDE PHOTOGRAPHIC INSTITUTIONview full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
HEMUS & HALL [HEMUS, James, 1860-1936]view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
BRAGGE James (1833-1908)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
Bayliss Charles (1850-1897)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
WALKER & BLACKWOODview full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
PRICE Thomas Edward (1838-1928)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
SYDNEY PHOTOGRAPHIC COMPANY. [SMITHERS, Alexander]view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
DURYEA Townsend (senior) (1823-1888)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
MOORE Maggie, 1851-1926]; MORA STUDIOSview full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
MORA STUDIOSview full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
KINGDON Fview full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
ELLIOTT & FRYview full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
KERRY Charles (1857-1928)view full entry
Reference: see Douglas Stewart Fine Books catalogue, Featured Acquisitions | Photography - Australia & Pacific, Feb., 2019. Biographical information may be provided.
Knights Samuel Salkeld c1818- 1880view full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Samuel Salkeld Knights (c. 1818- 1880)

Boirado
Oil on canvas, 75 x 62 cm
Inscribed with title on stretcher and signed,
“S. S. Knights, Geelong, 1858” 

Samuel S Knights was an early colonial artist who specialised in painting the portraits of prize animals and his importance as an artist is indeed recognised with the commission he received from Mr Thomas Austin in 1858 to paint his recently purchased thoroughbred stallion, Boiardo, “ a horse possessing fashionable blood and pretensions of any that yet has crossed the line” (Bells Sporting Reviewer, 1/5/1858).

Boirado had been imported into the colony by the bloodstock agent James Purvis after being purchased from the Earl of Derby. Thomas Austin paid  1,400 at auction, a huge sum for the times, for a horse that was to become one of the great sires in Australian horseracing. Boiardo stood at stud on Austin’s property, Barwon Park, near Geelong in Victoria. His progeny included many major stakes winners including Melbounre Cup, VRC, AJC and QTC Derby’s, St Leger, Champion Stakes, Australian Cup and many Metropolitan Handicap winners. When purchased by Austin in 1858 Bells Life in Sydney and Sporting Reviewer noted that Mr Austin, a liberal sportsman and careful breeder, was setting aside 1500 acres of his best land to make accommodation for mares and that stud owners should get their names in Boiardo’s book early, with the stud fee being 20 guineas (1/4/1858).

Thomas Austin settled in the Geelong region of Victoria in 1837 and developed a 29,000 acre pastoral property on the Barwon River. He became a prominent citizen and pastoralist in the colony and developed extensive horse racing interests, often being described as the Father of the Turf in Victoria. He was the impetus behind many of the Race meetings in Victoria and was a founding member of the Victorian Racing Club. The Austin Hospital in Melbourne was established by his widow and is named after him. His claim to infamy though may be that he is credited with introducing the rabbit into Australia for hunting purposes! 

The painting itself has an interesting provenance. Boiardo’s portrait was painted for Thomas Austin in 1858 and would have been commissioned to celebrate the purchase of such a fine and important stallion. In  1876 a progeny of Boiardo, also named Boiardo (from Merry Maid by Jersey) travelled through northern Tasmania and at this time John Field of Calstock bred from Boiardo and built much of his bloodline stock from this line. John Field was another famous thoroughbred horseracing breeder and he himself was the owner of many successful horses, including the 1884 Melbourne Cup winner Malua. The portrait of Boiardo would have been acquired by John Field in recognition of the bloodline of his breeding stock and it has remained in the Field family by descent until now.

Glover Henry Hview full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Henry H. Glover

Henry H. Glover
William Baker Ashton, First Governor of Adelaide Goal, c.1849
Watercolour
25 x 20 cm
signed


A Rare Early South Australian Watercolour depicting William Baker Ashton, Governor of Adelaide Goal, 1839 - 1854

William Baker Ashton arrived in South Australia on The Rajasthan from England in November 1838. Ashton’s services had been requested by Governor Gawler for the newly settled colony and his position as Deputy Inspector of Police was gazetted on the 1st of December 1838, although by early 1839 he had been appointed as the first Governor of the Adelaide Goal. Ashton was to hold the position until his death in 1854 and he lived with his wife and family in quarters above the Adelaide Goal main-gate. Ashton had spent his whole working life in law enforcement as either a policeman in London or jailer in Australia and he was a physically large and imposing man (at his death he weighed 146kg and could not be carried down the stairs from his residence above the goal so had to be lowered through the window!) but contemporary reports indicate that he was a fair man in a position that would have been most demanding in the developing community. Every known image of Ashton depicts his large frame and portly stomach, engulfed by a trademark-patterned waistcoat over a large overcoat, and he is always seen wearing his wide-brimmed hat and carrying his distinctive knurled wooden walking stick. The State Library of South Australia holds all the other known images of Ashton by Glover - a large watercolour, The Governor and his Staff at the Adelaide Goal, along with two smaller portraits of Ashton - and this recently discovered rare and historically important work further enhances this collection and is the only known Henry Glover painting to be held in private hands. For such a group of works to exist from a small known oeuvre suggests that a friendship existed between Henry Glover and William Ashton, which with the Goal being later widely known as “Ashton’s Hotel”, and Glover being a licensed victualler, is not an unreasonable conclusion!

The artist Henry Heath Glover (c.1810 – 1858) was a painter and lithographer in England before arriving in Australia in 1848. In the early 1850’s Glover is listed as a licensed victualler in Rundle Street, Adelaide but appears to have been predominantly an artist while in the colony as can be attested to by his name appearing in various directories. Glover’s watercolours are particularly documentary and display admirably the life and people of the times, with a realism and tendency to show the more working class sides of society rather than the ideals and higher society that were more commonly illustrated. All Glover’s artworks show a technical competence with the use of watercolour that indicates some training and a familiarity with the medium that would have been expected for an artist of the day.

Early portraits held in private hands depicting people of importance in the fledgling South Australian community are particularly rare, and even more so when the artist is known. This recently discovered artwork by Henry Glover depicting William Ashton is a welcome addition to the pictorial archive of early South Australia and further develops our knowledge regarding both the artist and sitter.


Staples Robert Ponsonby view full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Sir Robert Ponsonby Staples - early Australian plein-air painting

Off Adelaide, 1880 
panel painting 
12.5 x 30 cm

The S.S. Orient was the second largest ship in the world when launched and was designed specifically for the England to Australia route. On her maiden voyage in 1879 she broke the England to Australia speed record, accomplishing the feat in an astonishing 38 days. The ship was designed for passengers and was fitted with all the latest mechanical and nautical technology for the day. The first class accommodation was luxurious and spacious and was fitted with brass fittings, copious amounts of wood-carvings and William Morris designed carpets. Among the full complement of passengers on its maiden voyage was Sir Nathaniel Staples, a wealthy Irish landowner, and his son Robert Ponsonby Staples, a highly talented artist who was to become one of the great characters of early twentieth century Britain.

Robert Ponsonby Staples was born in 1853 and inherited his father’s baronetcy in later life. He trained initially as an architect and then studied at the Louvain Academy of Fine Art in Belgium, followed by more studies in Dresden and then Brussels and London and was strongly influenced in his artistic endeavours by his visits to Paris. He exhibited widely and had his first work hung at the Royal Academy in 1875. One of his most famous works hangs at Lords Cricket Ground and depicts an imaginary match founding the Ashes between Australia and England. His life was spent amongst the Café Royal and Marlborough set of London and Robert was friends with many of the most influential people of the time. This friendship allowed him to sketch them at their leisure, and portraits he executed exist of King Edward VII, Gladstone, Disraeli, Randolph Churchill, Sarah Bernhardt, Lillie Langtry, Whistler, William Morris and Orphen, to name but a few that amply illustrate the very heart of fashionable London society in which he roamed. In artistic circles he was also closely associated with the Grosvenor Gallery that was founded by his Uncle, Sir Coutts Lindsay. It was the most influential Gallery in London at the time exhibiting such artists as Bourne-Jones, Whistler and Menpes. Staples was quite an eccentric and became known as the “barefoot baronet” as he refused to wear shoes, believing that the soles blocked out the natural electricity from the ground which was important for health – in later life he was known to travel to Belfast from his property, Lissan House, so that he could walk barefoot on the tram tracks as he believed he would get an extra boost of electricity!

Such an artistic talent as Robert was always going to enjoy a tour to the colonies and known works indicate that he brought oil paints and panels to paint with him. The S.S. Orient spent only one day in Adelaide on its arrival on Monday 17th December 1879, then stopped briefly at Melbourne before berthing in Sydney on the 20th December for a month. At each of its port calls it was inundated with admiring visitors who came to see the amazing new ship and the interest in it continued for much of its working life. Charles Conder even painted its departure from Sydney in 1888. During their stay in Australia the Staples resided with gentlemen of the highest society. The Historic Houses Trust of NSW holds in its collection a painting by Staples, “At Billiards (sic) House, Christmas 1879”, which depicts Elizabeth Farm, the home near Parramatta of Irishman and Crown Solicitor of NSW, William Billyard, which he leased from the Macarthur’s. Interestingly Billyard joined the Staples for the return trip to London. In Sydney Staples would have surely visited the Sydney International Exhibition to view all manner of Arts and Industry from around the world. 

The S.S. Orient left Sydney on 22nd January 1880 on its return trip and berthed at Melbourne between Sunday 25th and Sunday 31st January. During this time the Staples visited another successful Irishman, Sir Samuel Wilson, at his property, Ercildourne, near Geelong. After leaving Melbourne the S.S. Orient arrived in Adelaide at 9.00 am on Monday 2nd of February, departing for London at noon on Wednesday 4th February.  It was during this stop-over that what is probably the first plein – air impressionist works painted in Australia was executed: Off Adelaide, 1880.

Off Adelaide, 1880 is a true plein-air work, an “ oil sketch of a landscape…, painted quickly to capture the moment, and without the ‘finish’ of a conventional easel painting”. Robert Ponsonby Staples was at the centre of the artistic developments of the period in Europe and has used his talent to work en plein-air to paint the scene he observed from the deck of the S.S. Orient: a quick representation of the ships at Anchorage and at Semaphore Jetty and the hot Adelaide summer day, with the heat reflecting off the surrounding hills and a plume of smoke probably emanating from a summer bushfire. 

Tom Roberts was to later bring this artistic method of painting to a wider Australian audience when he returned to Australia in 1885 from his European sojourn of the early 1880’s. It is widely accepted that he painted his first impressionistic works in Spain in 1883 and from there developed this method. He was at the centre of the movement towards Australian plein-airism which culminated in the 9 x 5 Exhibition in Melbourne in 1899. The small 12.5 x 30 cm panel painting Off Adelaide, 1880 can be viewed as a forerunner to one of the most significant art developments in Australia.

Off Adelaide, 1880 presents to the viewer an historically accurate view of the Adelaide anchorage off the Semaphore on a very hot Summers day in February. Contemporary reports give the top temperatures on the days of the S.S. Orient’s visit as being between 104 and 106F and the steamy melancholy impression of the surrounding Mount Lofty Ranges reflects well with that of even today’s hot Summers. The ships at anchorage on these days were the Atlantic, Coraki, Ellerbank, Guiding Star, Kilmeny, Loch Now and the Signal and they would be waiting for entry to the harbour area of Port Adelaide or would have been too big to enter, as the S.S. Orient was. The small steam launch approaching the S.S. Orient is the Little Orient that was advertised by the S.S. Orient’s agent, Joseph Stirling and Co, as plying between the Steamer and Semaphore Jetty during her stay with fares of 2s one way and return 3s.

The recent re-discovery of this wonderful plein-air painting has demonstrated that the artistic movement of Impressionism, and particularly plein-air painting, was not only reaching Australia as theory in the early 1880’s but works of a high quality, demonstrating the contemporary artistic theories espoused in Europe, were actually being painted of the Australian landscape. Until now it has been thought that the first such plein-air paintings originated in Australia with the return of Tom Roberts to Australia in 1885. Robert Ponsonby Staples must surely have met and discussed painting with artists in Australia and this influence on artists of the period is an avenue that can now be investigated further. Off Adelaide, 1880 is a very rare and important work in the development of Australian Impressionism, one of, if not the most important artistic developments Australia has witnessed.

NOTES
The Illustrated Adelaide News, January 1880, contains an extensive report on the mechanical and luxury fittings of the S. S. Orient.
For more information on Staples portraits see Kessenick, P. M.. A Souvenir of the Century: Victorian-Edwardian Sketches by Sir Robert Ponsonby Staples, Fine Art Publishing Company, U.S.A, 1981
Art Gallery of NSW, Charles Conder, The departure of the Orient from Circular Key, 1880
Lane, T.. Australian Impressionism, Council of Trustees of National Gallery of Victoria, Melb., 2007, page 157.
For a comprehensive discussion on Australian Impressionism see, Lane, T.. Australian Impressionism, Council of Trustees of National Gallery of Victoria, Melb., 2007
The weather observations reported in the South Australain Register for the period of the S.S. Orient’s visit indicate that Adelaide was experiencing very hot conditions and at Semaphore it was reported there was little wind, the seas were smooth to calm and the weather clear and fine.  
South Australian Register, Wed February 4th 1880, Shipping Intelligence, page 4.
South Australian Register, Tue February 3rd 1880, page 1

BIOGRAPHY
Kessenick, P. M.. A Souvenir of the Century: Victorian-Edwardian Sketches by Sir Robert Ponsonby Staples, Fine Art Publishing Company, U.S.A, 1981
Lane, T.. Australian Impressionism, Council of Trustees of National Gallery of Victoria, Melb., 2007
McBrinn, J.  ‘“Morning Chats with William Morris”, A forgotten Portrait of Morris in Ireland’ in The Journal of William Morris Studies, p 38 – 44, Winter 2004.
Stewart, B and Cutten, M. The Dictionary of Portrait Painters in Britain up to 1920, Antique Collectors Club, England, 1999.
Argus, Newspaper, Melbourne, various dates, 1879-80
South Australian Register, Newspaper, various dates, Adelaide 1879-80
Sydney Morning Herald, Newspaper, various dates, 1879-80
Illustrated Adelaide News, Newspaper, Adelaide, January 1880
Sandeman Henry Gordon Horsford (1856 – 1919)view full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Henry Gordon Horsford Sandeman (1856 – 1919)

Gathering for the Start of the Christmas Handicap
Burenda Races, Queensland, 26 December 1874
Oil on board
Signed 
15 x 22.5 cm




“Burenda Station”, which was situated approximately 100 km north east of Charleville, Queensland, was a large pastoral holding owned by Mr Gordon Sandeman, a past member of both the NSW (1856-57) and the Queensland (1863 – 70) parliaments. The Rockhampton Bulletin of 30 September 1875 reported that it covered between 900 and 1,000 square miles and held a stock of over 105,000 sheep, 3,000 cattle and 200 horses. There were “six commissioned officers, two aidecampes and 150 – 230 rank and file” working on the property with extensive buildings, six major dams and even its own branch of the Queensland Savings Bank.

To this property Henry Gordon Horsford Sandeman, known as Harry, arrived on a visit to his relative Gordon during 1873-74. Fortunately a very good record of the visit exists in a manuscript journal that Harry wrote of the time and which is now held in the National Library of Australia, titled Gone Out to Australia (MS 3628a). The extensive hand-written observations in the journal cover a period of approximately ten years, and along with the written account there are a large number of accompanying drawings which, although often several pages away, are sequentially related to the text and numbered.

Harry arrived at “Burenda” after travelling from Brisbane via Roma and appears to have quickly got into the lifestlye and work expected on an outback station of that period. He mentions camping out and looking after a group of 30,000 sheep and also courageously stopping a knife fight between an Irishman and a Chinaman and then on page 78 of his journal we find that “a happy thought came to me, we would hold a race meeting”. Not shy in coming forth he further reports that “intense excitement followed, a brilliant idea, said one, symptom of Christmas said another. The festive season was drawing near and the races would help to keep the men away from the pubs.” Harry writes that a purse of P100 was raised, as confirmed by an article in the The Brisbane Courier 16/1/1874 which mentions the Boxing Day races at Burenda. The races at Burenda were always for only grass-fed horses, as Harry mentions on page 81 and is further referred to on reporting of a later Burenda race meeting in The Queenslander of 18 July 1874. The races were a very big event and a booth was set up for drinking, “although an incomplete arrangement” (p. 80), and Harry even saw a money making chance; “I bought all the whips in the store and gave them to one of the men to sell at a good profit” (p.80).

Several races were held on the day and the “Xmas Handicap bought out five, Darby Kelly was again favourite, D.K. winning by a length” (p. 81). It is worthy to note that Harry also owned Darby Kelly at the time, his journal explaining that he leased him from an old sheperd (p. 79) and possibly because of this connection he drew the horse (illus 287) and the finish of the Christmas Handicap (illus 293). Harry states that the rules for silks, costumes and boots were strictly adhered to (p. 82) and it is interesting to see the lively colour of the finished oil painting when compared to its related black and white illustration, The Finish, in his journal, although the distinct nature of the colour and dress of each horse and rider is still recognisable in the sketch.

There are only a few known oil paintings, all small in size, by Harry Sandeman but his painting of the Gathering for the Start of the Christmas Handicap and the illustrations found in his journal indicate that he was a very competent artist that drew faithfully what he observed. Horse racing was obviously a favourite pastime as all known paintings by him are of horse related subjects and he often mentions his horsemanship skills in his journal entries.

NOTES
*See National Library of Australia for Harry Sandeman’s journal: Digital Collections - Manuscripts website




Johnston Major George view full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Major George Johnston - George's Hall

 




Major George Johnston was born in 1764 and came to Australia with the First Fleet as a First Lieutenant in the Marines. He was reputed to be the first ashore at Port Jackson when the fleet landed in 1788 [1]. Johnston was a highly influentual member in the society and ruling class of early Sydney with many actions and decisions affecting the colony bearing his influence. He was at various times in and out of favour with the Governors of the colony, holding numerous positions of responsibility throughout his life, and was a popular officer of the New South Wales Corp. In 1800 he was promoted to a Brevet Major but at the same time was sent to England due to concerns with his involvement in the rum trade. In 1804 he gained recognition for his suppression of an armed rebellion at Vinegar Hill, but the critical point in his career came with his decision in 1808 to arrest Governor Blight and assume the Lieut-Governorship of the colony. Johnston had sided with the landholders and particularly John Macarthur in his decision to overthrow Bligh but argued that his decision was made with the backing of the majority of the population. He was court-martialled in England in 1811 for his actions and found guilty and cashiered from the army, but the Colonial Office still provided him with passage back to New South Wales in 1813. Johnston was to build upon his wide property, trading and farming interests in the years ahead and became a frequent guest and received many favours from Governor Macquarie. He died in 1823 [2].

In Sydney Johnston maintained one of the finest estates, Annandale, but he also held an extensive amount of property throughout the colony. Land Grants to Johnston and his family established him as one of the largest landholders and his holdings at his death included areas of Sydney, Petersham, Bankstown, Cabramatta and Lake Illawarra [3]. Johnston's land holdings were very complex [4] and with the colonial frontier mentality prevailing at the time often land was just occupied, no matter what the actual legal claim to the property was, particularly when required by the members of the powerful military forces. Johnston's granted land in the Bankstown region seems to have been predominantly situated around the George's River and included 172 acres granted in 1798 and 72 acres granted in 1804 while his son George Junior received 500 acres in 1803. Lieutenant James Finucane in his journal notes that Johnston "had a good house and extensive farm on the Georges River" [5] and it is known that his property was used as an outpost for Government Forces as early as 1803 [6]. The farmhouse, "George's Hall", was on the junction of the George's River and Prospect Creek, at Marquee Point, and according to maps held in the N.S.W. State Records Johnston held land on the other side of the creek too [7]. These are the properties depicted in the watercolour by George Johnston Junior. Interestingly, a handwritten notebook that details the furniture held in each room, and the names of the servants at "George's Hall in 1809 can be found in the Johnston Papers at the Mitchell Library, Sydney [8] while today the suburb of Georges Hall takes its name from this property [9].

The watercolour by George Johnston Junior measures 12.5 X 18 cm, is signed and dated April 1805, and is tipped down on a contemporary sheet of paper. To the reverse, in a contemporary hand, is the inscription "Major Johnston's House, New South Wales. Drawn by his Son", and this is again repeated on an old label on the backing board of a mid-nineteenth century frame that the work was found in.

George Johnston Junior, the eldest child of George Johnston and his convict partner Esther Julian, was born in Sydney on 12 January, 1790. He had a short military career [10] but was to spend most of his life farming on his and his families extensive landholdings. He was said to be surprisingly literate despite the educational opportunities available in the colony at the time, and obviously followed the gentlemanly pursuits required of him as a member of the upper echelons of Sydney society [11]. George Junior died in a riding accident on John Macarthur's property at Camden in 1820. In a letter of condolence to his father Macarthur said, "Your son was an Honor to his Name, his Family, and the Country that Gave him Birth, of which he was one of the brightest ornaments" [12], and Governor Macquarie also spoke highly of him when expressing his sympathies.

The watercolour of his father's farm suggests that some training in the technique of watercolour painting was undertaken in George Johnston Junior's education and this would not be unexpected. It could be conjectured that he was taught some of his skills by the local artist and surveyor George William Evans who is known to have painted in a similiar style and depicted a closely related view [13]. George Johnston Senior had also travelled with Evans back to Australia in 1802 [14] and he was a resident and held public positions in the Parramatta region.

This watercolour is one of the earliest know positively identifiable depictions of the Bankstown region. A practically identical watercolour by George William Evans was sold by Christies London in 1996 [15] and is now in the collection of Mr Kerry Stokes [16]. A later related watercolour, attributed to Joseph Lycett and dated 1819, that depicts Major Johnston's property and the farmhouse on the George's River, is in the collection of the Mitchell Library in Sydney [17].

Early paintings and drawings of the fledgling colony of New South Wales are extremely rare, not least because the harshness of the conditions and the efforts required to establish an outpost in such a foreign land left little time for the pursuit of the Arts. The facts that the whole of the colony consisted of only 6,500 people in 1805 [18], and a large percentage of these were convicts, further contribute to the rarity of any artwork of this period. In this light the rarity and historical significance of George Johnston's watercolour of his father's farm is indisputable. However the value of this work is further enhanced, and of immense interest to the history of painting in Australia, because it is the earliest known artwork produced in Australia by a person born in the colony of European descent.

SELECT BIBLIOGRAPHY
Chapman, D., 1788. The People of the First Fleet. Doubleday, Australia, 1986.
Commonwealth of Australia, Historical Records of Australia, Series One. Library Committee of the Commonwealth Parliament, 1914-1925.
Exhibition Catalogue, By Water. From the Personal Collection of Kerry Stokes, AO, Museum of Sydney, 2001.
Johnson, K.A. and Sainty, M.R., Land Grants 1788 - 1809. Private Publication, Sydney, 1974.
Kelly, M. and Crocker, R., Sydney Takes Shape. University of Sydney, 1977.
McCormick, T., First Views of Australia 1788 - 1825. David Ell Press, Sydney, 1987.
Nesdale, I., The Fettered and The Free. Orchid Publications, South Australia, 1987.
Peters, M., The Bankstown Story. Bankstown City Council, N.S.W., Fourth Ed., 1990.
Pike, D., Australian Dictionary of Biography. Melbourne University Press, Australia, 1967.
Pollen, F., The Book of Sydney Suburbs. Angus and Robertson, Sydney, 1981.
Rosen, S., Bankstown. A Sense of Identity. Hale and Iremonger, Sydney, 1996.
Smee, J., First Fleet Families of Australia. Woolnough Publishing, N.S.W., 1988.
Statham, P. (Ed.), A Colonial Regiment. P. Statham, Canberra, 1992.
Whitaker, A. (Ed.), Distracted Settlement. New South Wales after Bligh. From the Journal of Lieutenant James Finucane, 1808 - 1810. The Meigunyah Press, MUP, Melbourne, 1998.
Weatherburn, A.K., Australia,s Interior Unveiled. A biography of George William Evans. A.K. Weatherburn, Sydney, 1987.

NOTES
[1] See Pike, D., Australian Dictionary of Biography. Melbourne University Press, Australia, 1967, Vol. 2, page 20
[2] Many references are available that discuss Johnston,s life but some suggested reading includes, Pike, D., op. cit., Smee, C.J., First Fleet Families of Australia. Woolnough Publishing, N.S.W., 1988, Nesdale, I., The Fettered and The Free. Orchid Publications, South Australia, 1987 and Statham, P. (Ed.), A Colonial Regiment. P. Statham, Canberra 1992
[3] For a complete listing of Johnston,s legal Land Grant landholdings see the Register Books of Land Grants held by the State Records of N.S.W., and Johnson, K.A. and Sainty, M.R., Land Grants 1788 - 1809. Private Publication, Sydney, 1974.
[4] See Rosen, S., Bankstown. A Sense of Identity. Hale and Iremonger,
Sydney,1996, pages 35 and 65, for maps outlining some of the properties and legal complexities found in trying to work out the property rights of the Johnston family.
[5] Whitaker, A. (Ed.), Distracted Settlement. New South Wales after Bligh. From the Journal of Lieutenant James Finucane, 1808 - 1810. The Meigunyah Press, MUP, Melbourne, 1998, page 69.
[6] See Commonwealth of Australia, Historical Records of Australia, Series One. Library Committee of the Commonwealth Parliament, 1914-1925, Vol.4, page 333.
[7] See New South Wales State Records, Archive Office Map Number 187 and AO NSW: Road Branch Files 10/15083, File Number 142. These maps are also reproduced in a reduced form in Rosen, S., op. Cit.as is a discussion of his Bankstown properties on pages 23 -27. Also see microfiche AO Reel 2560, p.150. Grant No. 1347, Reg. No. 3, Folio 169, 1804, AO Reel 1913, p.126, Reg. No. 10, Folio 164 and AO SZ 76, Reel 1913 for specific positions of Land Grants. Nesdale, op. Cit. and Peters, M., The Bankstown Story.
Bankstown City Council, 1990, pages 10-14, also comment on the position of Johnston,s landholdings.
[8] Mitchell Library, ML MSS 3778.
[9] See Pollen, F., The Book of Sydney Suburbs. Angus and Robertson, Sydney, 1981, page 107 and Nesdale I., op. cit., page 128 for a discussion and list of places named after the Johnston name
[10] Statham, P., op. cit., page 301.
[11] See Pike, D., op. cit., for an extensive entry discussing George Johnston Junior.
[12] Quoted in Pike, D., op. cit., Vol. 2, page 22.
[13] For further Evans watercolours see McCormick, T., First Views of Australia 1788 - 1825. David Ell Press, Sydney, 1987 and Exhibition Catalogue, By Water. From the Personal Collection of Kerry Stokes, AO, Museum of Sydney, 2001. Catalogue Number 48.
[14] Weatherburn, A.K., Australia,s Interior Unveiled. A biography of George William Evans. A.K. Weatherburn, Sydney, 1987, page 5.
[15] Christies London, Exploration and Travel, September 1996, Lot 110.
[16] Exhibition Catalogue, By Water. From the Personal Collection of Kerry
Stokes, AO, Museum of Sydney, 2001. Catalogue Number 48.
[17] Mitchell Library, PX*D41.
[18] See Kelly, M. and Crocker, R., Sydney Takes Shape. Macleay Museum, University of Sydney, 1977, for statistics of the colony,s population in its first One Hundred years.
Lyttleton Thomas Hamilton view full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Thomas Hamilton Lyttleton

The 1869 Ballarat Autumn Steeplechase.
At the water-jump with Birthday, Ingleside, Babbler and Sea King running.
Oil on board
Signed and dated 1869
41 x 62 cm
Provenance: Private Collection, England
Phillips London, Lot 113, December 17, 1985. £22,000. 
Private Collection, Sydney




The 1869 Ballarat Autumn Steeplechase was held on Friday 14 May. One of the most important events on the Victorian racing calender, it was run over four miles and had a prize purse of 100 sovereigns. The horses painted by Thomas Lyttleton taking the water-jump were Birthday owned by Mr Thomas Bailey, followed by Ingleside owned by Mr Orr, then Babbler, another of Mr Bailey's horses and finally Mr Carmichael's Sea King.

Eight horses were nominated for the race which the Australasian described as the "last great prize of the season" (May 15, 1869). Two great horses of the time, Babbler and Ingleside, were competing in the field and it was Ingleside who was the favourite in the betting at 2 to 1 against followed by Babbler at 5 to 2.

Contemporary reports describe the race and have Dutchman leading over the first part of the course but "coming a purler before the last turn leaving the lead to Birthday who with Ingleside, Babbler, Sea King and Wannon, in that order cleared the water-jump in fine style" (Australasian, May 15 1869). Birthday suffered though from his earlier win that day in the Selling Steeplechase over three miles, and it was left to Ingleside and Babbler to fight for the finish. Babbler took the lead with three-quarters of a mile to go and went on to win by a dozen lengths.

Babbler and Ingleside were both champion horses of their day and fought out many races. Their fame was great. They were regularly mentioned in the press and the public's interest in them saw their names in more than just the racing pages. Babbler, for example can be found in a poetical prophecy by W.J.E.H. in the Australasian of October 15, 1868 while Ingleside is a subject found in Part IV of Adam Lindsay Gordon's poem Hippodromania, The Bankers Dream.

Interestingly, Adam Lindsay Gordon was widely regarded as one of the best steeplechase jockeys of his day and he regularly rode Babbler to many of his historic wins, and at various times trained both Babbler and Ingleside, two of the horses in the Lyttleton painting.

In the 1860's racing colours did not have to be registered, and even those that were often did not get used as the jockeys wore what they had brought to the track. Horses were regularly sold after a race and ownership could sometimes change hands several times in one day. In Lyttleton's painting it can be ascertained, by referring to other Lyttleton works and contemporary reports for comparison, that Mr Orr's colours were that of the black jacket with red sash and Ingleside is being ridden by Johnson. The jockey up on Babbler is Mr W. P. Bowes, an owner himself, wearing his colours of blue with a black cap that can be seen registered by the V.R.C. in the 1871 Australasian Turf Register. The report of the race in the Australasian tells us that Birthday was ridden by Howell and Sea King by Ferguson.

The Ballarat Turf Club was located seven miles from the township on a 460 acre lease. The steeplechase course was over a distance of four miles and the setting of the water-jump is painted by Lyttleton with the general public seen on the outer course, including a small group of aborigines caught up in the excitement of the moment, several even mimicing the jockeys by riding the rails of the fence. Lyttleton has painted a scene in stark contrast to that which he would have generally encounted as a person of privilege in the staid respectability of the members enclosure. Lyttleton's depiction of the horses stride is typical of the period as it was not until photography was widely available that it was realised that horses legs when galloping did not go forward and behind at the same time. The jockeys riding style was also typical for the 1860's with long reins, low stirrups and an upright riding position, while Lyttleton's knowledge of horses is evident in such fine detail as the horses ears being back when flat racing but 'pricked up' in concentration when jumping.

Thomas Hamilton Lyttleton was born in Tasmania on June 10, 1826 at the family property "Hagley" near Launceston. He came from an upper class family and led a life that was typical for the sons of the wealthy of this period.

At 27 he married Emily Fenton in Hobart and was to have two sons and two daughters with her. In 1851 he moved to Victoria and joined the Police Force and by the 1860's had risen to the rank of Superintendent of the Melbourne Metropolitan Police Force. Sadlier, in his Recollections of a Victorian Police Officer, says that his appointment was not a great success as "although by birth and education he was a gentleman he was wanting in some of the qualities requisite for so important a position" (p. 119)! Lyttleton's social standing can be gauged by his membership of the Melbourne Club from 1853 as well as his memberships of the Yorick and Athaneum Clubs, and his interest in horse racing can be seen in his position as a committee man of the Castlemaine Turf Club. Lyttleton was superannuated from the police force in 1874 due to poor health.

Lyttleton's paintings are now extremely rare but the records indicate he had a strong interest in painting horse race and sporting pictures. The VATC owns a painting dated 1856 of Free Trader, the winner of the first Melbourne Hunt Club Cup, and four horse pictures were exhibited by him in the 1866 Melbourne Inter-colonial Exhibition. He painted several steeplechase races and of note is the fact that Adam Lindsay Gordon is in, or related to the subject, in many of his works.

Thomas Lyttleton's artistic skills can be recognised in his position as a foundation member of the Victorian Academy of Arts and he exhibited ten works in their exhibitions from 1870-1872. The Australasian of May 15, 1869 makes note of an exhibition of his sporting pictures which include steeplechase works, and both Babbler and Ingleside are mentioned as being in the paintings with Mr Orr and Mr Johnson up, both riders and horses also seen in the present picture under discussion. The Australasian goes on to say that Mr Lyttleton shall "doubtless be as successful as his friends can wish".

Thomas Lyttleton retired in ill health to Drysdale in Victoria and died on 23 January 1876.

References:

The Australasian. May 16, Oct. 10, Dec. 12, 1868. May 15, Oct 2, Oct. 9, Dec 11, 1869.
The Australasian Turf Register. The Australasian, Melb., 1867, 1868, 1869, 1870, 1871.
de Serville, P.. Pounds and Pedigrees. The Upper Class in Victoria, 1850-80. OUP, Melb, 1991.
Humphris, E. and Sladen, D.. Adam Lindsay Gordon. Constable and Co., London, 1912. 
Ingram, T.. "Saleroom", Australian Financial Review, Feb. 28, 1986.
Kerr, J. (Ed), The Dictionary of Australasian Artists. OUP, Sydney, 1992.
Laverty, C,. Pastures and Pastimes. Vic. Ministry of Arts, 1983.
Sadlier, J.. Recollections of a Victorian Police Officer. George Robertson and Co., Melb, 1913.


Brodsky Horace - see also Brodszkyview full entry
Reference: see Peter Walker Fine Art, Adelaide, February, 2019 : Horace Brodsky

The Gardener
Oil on Panel 
Signed and dated 1914 and titled, signed and dated verso
21 x 18.5 cm




Horace Brodsky was born in Kew, Melbourne, in 1885. He was born into the family of Maurice Brodsky the Jewish owner of “Table Talk” which published widely on the Melbourne arts scene in the period leading up to the turn of the Nineteenth Century. He studied at the National Gallery School in Melbourne and followed this up with travel and study in the U.S.A. and then England. He was a strong supporter of the modern arts movement in London, and particularly the vorticists, and was an early member of the The London Group. In The London Group he exhibited with the likes of Walter Sickert, Spencer Gore and Lucian Pissaro and formed close relationships with many of the influential artists of the period such as David Bomberg, Jacob Epstein, Henri Gaudier-Breska, Ezra Pound and Wyndham Lewis. He travelled through Italy in 1911 with his friend, the American poet John Gould Fletcher, where he discovered the work of Piero della Francesca which became a major influence on his work.

In 1912 he was the first Australian artist to be included in the Venice Biennale of Modern Art, while in 1914 he participated in “Twentieth Century Art: A Review of Modern Movements”, at the Whitechapel Gallery, which was the most comprehensive survey of avant-garde developments in the art world at the time.

The Gardener is one of Brodzkys most powerful works and directly shows the influence of the modern art movement of the period with its dynamic cubist shapes. The strong colours help outline the basically simple figure that is so obviously tending his patch of garden.

The work is unique for an Australian artist of the period for its modernity when artists such as Hans Heysen were still painting the traditional gum trees of the outback. While De Maistre and Wakelin were to work with colour theories in 1918/9, their direction coming from the study of European art theory books, Brodzky had been experiencing the cubist and related art movements directly in London and Europe half a decade earlier.

Wainewright  Thomas Griffiths view full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Thomas Griffiths Wainewright 



Thomas Griffiths Wainewright was born in London in 1794 and was provided with an upper-middle class upbringing and education by his grandfather after his parents death. His grandfathers house was to provide Wainewright with literary and artistic influences which would effect him for the rest of his life. Visitors to the house included such intellectual thinkers as Josiah Wedgwood, Mary Wollstonecraft, William Blake and Henry Fuseli.

Wainewright was to develop his interests in collecting and art at an earlyage and he is known to have had an apprenticeship to the portrait painter Thomas Phillips, a member of the Royal Academy, in 1813. John Linnell is also claimed to be one of his teachers. He was to go on to exhibit at the Royal Academy from 1821 - 1825 with the influence of Fuseli and the nineteenth century romantic style evident in his works, such as the Subject fom the Romance of Undine exhibited in 1821. He was also a journalist and social commentator of note, writing literary criticisms and exhibition reviews for such journals as the London Magazine.

In 1837 Wainewright was tried for forgery and sentenced to Transportation,while also being under suspicion after the mysterious deaths of his grandfather, mother-in-law and sister-in-law. These actions resulted in anotoriety for Wainewright that was to be widely scrutinized throughout the years in books and commentaries base on his life by such authors as Charles Dickens, Oscar Wilde and the present Poet Laureate Andrew Motion.

Wainewright arrived as convict 2325 on the Susan at Van Diemans Land in 1837. By 1840 he was working at the Colonial Hospital in Hobart Town and it was here that he was befriended by the assistant surgeon Dr. Robert Kennedy Nuttall. Dr Nuttall was to see Wainewright everyday for the four years he was in the colony (1840 - 1844) and encouraged him in what must have been a very different position to that which Wainewright had held as a dandy and dilettante in early nineteenth century England and France. Dr Nuttall must also have encouraged Wainewright's painting and was to form a comprehensive collection of his works. Wainewright painted portraits of the members of the upper echelons of colonial society, as was demanded by the populace of the time, but he was also to continue to paint in the romantic style he had practiced in England and succesfully exhibited at the Royal Academy. This is how Dr Nuttall obtained the two watercolours The Reunion of Eros and Psyche and Lothaire of Bourgogne Discovers the Amour of His Wife with the High Constable.

These watercolours are very different to the usual landscape and portrait paintings done by the colonial artists of the time, and are distinct in their romantic style and the high level of skill with which they were painted. They also confirm that Wainewright's links with Fuseli remained even in the squalor of colonial Hobart Town. The elongated mannerisms and neo-classical lines are evidence of this while the subtle eroticism evident in the works is very rare for Australian paintings of this period. The Reunion of Eros and Psyche is a subject taken from Apuleius's Golden Ass while Lothaire of Bourgogne Discovers the Amour of His Wife with the High Constable illustrates a scene in Barrault's Histoire des Ducs de Bourgogne.

Interestingly, Dr Nuttall was to comment to his son, Professor G. H. F.Nuttall, that he remembered watching Wainewright paint the wife of Lothaire. In the story, related by Curling in his book on Wainewright, when the doctor complained about the unnatural length of her neck Wainewrightput the black band around it with a single deft stroke of his brush. When relating the story Dr Nuttall made a slashing movement as though using a knife to cut a throat, with a fierce expression on his face. Dr Nuttall has inscribed in pen on the back of the watercolour this observation. The back of each work is also inscribed in pencil with their title, and on comparison with Wainewright's handwritten Petition for Release, which was submitted in Hobart, it is evident that the artist has written the words himself.

The Reunion of Eros and Psyche and Lothaire of Bourgogne Discovers the Armour of His Wife with the High Constable are extremely rare Australian colonial artworks on many levels. Wainewright counted amongst his friendsand acquaintances in England such artists as Sir David Wilkie, Richard Westall, David Flaxman and Sir Thomas Lawrence, to name but a few, and this contact was to provide him with experiences and influences that were uniquefor the Australian society of the period. The artistic lessons obtained from these relationships contribute highly to his present recognition as one of most skillful of the colonial artists of the period. The fact that Wainewright was a convict, with the obvious constraints this entailed, and the small number of works known to exist by him makes the existence ofthese works even more amazing. Very few romantic genre paintings survive inthe whole colonial oeuvre and to be able to provenance any colonial workback to its origins, as in the case of these two watercolours, is extremely rare. When the amazing life of Thomas Wainewright is added to this, theunique nature and extreme rarity of these works in the Australian colonial context is indesputable.

Select Bibliography
Curling, J.. Janus Weathercock. The Life of Thomas Griffiths Wainewright, Thomas Nelson and Sons Ltd, London, 1938..Crossland, R.. Wainewright in Tasmania, OUP, Melbourne, 1954. Kerr, J.. Dictionary of Australian Artist, OUP, Melbourne, 1992. Motion, A.. Wainewright the Poisoner, Faber & Faber, London, 2000.




Clark Thomas view full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Thomas Clark

The Wannon Falls 
Victoria, circa 1860
39.5 x 53 cm




The Wannon Falls are found near Hamilton in the rich Western District farmlands of Victoria, and became one of the most popular subjects for landscape painters in the colony. Thomas Clark was to make painting the Falls his speciality and several views by him of the Falls are known, including a very similiar work that is now in the Australian National Gallery. Clark had been awarded a gold medal for landscape painting by the Royal Society of Arts in England and he continued to be recognised in the colony, along with his contemporaries Eugene Von Guerard and Nicholas Chevalier, for his fine brushwork and romantic effects which were so much in demand by local pastoralists.
Garling Frederickview full entry
Reference: From Peter Walker Fine Art, Adelaide, February, 2019: Frederick Garling (1806 - 1873)


City of Hobart (entering Sydney Heads)
Watercolour
Image: 30 x 46 cm
Frame: 67 x 84.5 cm
 
The City of Hobart was a two funnelled, three mast barque rigged vessel built by T Wingate and Company, Glasgow for the Tasmanian Steam Navigation Company in 1853. The City of Hobart arrived in Hobart in 1854, and then primarily ran the passenger and cargo service between Hobart and the mainland but her owners were not above venturing further afield, as for example when she took gold diggers from Melbourne to Port Curtis, Queensland in 1858 following the news of the gold strikes there and similarly to New Zealand in 1861. After 1865 she was usually on the Hobart Town -  Sydney route until she was sold in 1875 to W. Summerbell and converted to a collier. She broke her screw shaft on 25 July 1877 and water penetrated her holds so she was abandoned of Wilson Promontory in Victoria.
 
Frederick Garling was one of the eminent ship portraitist in Australia at the time and he is acknowledged as having painted most of the ships that entered Sydney harbour in his time. He arrived in Sydney in 1815 with his family and joined the Customs Department in Sydney in 1827 and remained with them till 1859. He was known to paint outside his office hours and there was strong interest for his works particularly from owners and Captains of ships that visited Sydney. Garling was a very competent watercolourist but little is known of any formal training he had although his copies of Augustus Earle’s works indicate he probably received some training from him in the 1820’s. His style changed little over the years although he always used high quality pigments and papers and although he rarely signed his works his characteristic style and working technique, where he built up his images with thin washes of watercolour, are a signature themselves. Several of his works also show the ships entering Sydney through the Heads with the South Head lighthouses and building obvious in the background, for example his watercolour of the clipper ship British Flag is painted with a practically identical view as that of The City of Hobart , and interestingly there size is identical too. A lithograph depicting the City of Hobart was printed in 1854 upon its launch in England and earlier photographic images of this artwork are held by the Archive Office of Tasmania (NS1013-1-1563).
 
The State Library of NSW holds a vast collection of Garling’s artworks primarily through the Jean Darling Bequest and held an exhibition of his works in its Picture Gallery in 2003.
Midlane Brianview full entry
Reference: see Sydney Morning Herald Review: LONDON
Sydney Painters
LONDON, Feb. 6 (A.A.P.).
-Sydney artists Brian Midlane
and his wife, Mollie Paxton,
are exhibiting 42 paintings at
the Leicester Galleries.
Great interest was shown at a
private view yesterday. Six ex-
hibits were sold
Most of Midlane's 20 paintings
are richly-coloured compositions
of drab London scenes, painted
mostly in Pimlico
Art critic R H Wilnski, in a
preface to the catalogue, says the
Midlanes represent a "new gene-
ration of young Australian paint-
ers, adventuring in formal and
imaginative fields"
Paxton Mollieview full entry
Reference: see Sydney Morning Herald Review: LONDON
Sydney Painters
LONDON, Feb. 6 (A.A.P.).
-Sydney artists Brian Midlane
and his wife, Mollie Paxton,
are exhibiting 42 paintings at
the Leicester Galleries.
Great interest was shown at a
private view yesterday. Six ex-
hibits were sold
Most of Midlane's 20 paintings
are richly-coloured compositions
of drab London scenes, painted
mostly in Pimlico
Art critic R H Wilnski, in a
preface to the catalogue, says the
Midlanes represent a "new gene-
ration of young Australian paint-
ers, adventuring in formal and
imaginative fields"
Paxton Mollieview full entry
Reference: see Daily Telegraph, Sydney, 22 April, 1950, p13: Miss Molly Paxton, who
learned to paint decorative
panels at ; East Sydney, has
just held a joint exhibition
at the Leicester Galleries,
London, with her husband,
Brian Midlane.
Blakemore Rose miniaturistview full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, article by Timothy Roberts pages 5- 10.
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
scrimshawview full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, article by Scott Carlin ‘Scrimshaw - art of the mariner, the Colin Thomas collection. pages 12-23.
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
Thomas Colin collectionview full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, article by Scott Carlin ‘Scrimshaw - art of the mariner, the Colin Thomas collection. pages 12-23.
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
Colin Thomas collectionview full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, article by Scott Carlin ‘Scrimshaw - art of the mariner, the Colin Thomas collection. pages 12-23.
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
Whalingview full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, article by Scott Carlin ‘Scrimshaw - art of the mariner, the Colin Thomas collection. pages 12-23.
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
Whitesides and Sons furniture makersview full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, article by Philip Reid pages 24-7.
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
Starnge Frederickview full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, article by Robyn Lake, ‘Convict artist Frederick Strange... The Mystery Deepens’, pages 34-43
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
Houston John collectorview full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, article by John Wade
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
Minchin R E 1831-1893view full entry
Reference: see Australiana Magazine, February, 2019, Vol 41, No, 1, advertisement for Peter Walker Fine Art, Adelaide, illustration of ‘Mouth of the Murray from Hindmarsh Hill’, 8.5 cm diam, wc.
Richard Ernest Minchin (1831-1893)
Mouth of the Murray From Hindmarsh Island, circa 1860
Pen, ink and watercolour
8.5 cm
$990 Incl GST
* The large sandhill to the left of the image is Barkers Knoll which disappeared in the mid 19th century. See Art Gallery of South Australia for other related works.
Publishing details: Australiana Magazine, February, 2019, Vol 41, No, 1,
Edwards Tonyview full entry
Reference: From Wikipedia: Biography[edit]
Tony Edwards was born in Strathfield in 1944[1] and originally trained as an architect.[2]
Edwards' best known creation Captain Goodvibes was published in May 1971 in Tracks. The character was inspired by Gilbert Shelton's Wonder Wart-Hog and achieved cult status with the Australian surfing community.[3] The strip continued to run in Tracks until July 1981.[4] The strip's popularity led to the publication of several Goodvibes comic books and a short film Hot to Trot (co-written by Ian Watson and Tony Barrell).[5]
His first children's story, Ralph the Rhino, was published in 1982. Edwards also supplied the illustrations for Surfing, the Dictionary by Phil Jarratt, which was published in 1985.
Edwards was illustrating for the National Times/Times on Sunday from 1986 until it ceased publication in 1998, when he moved to the Sun-Herald.[6] In 1998 he won a Walkley Award for 'Best Artwork' for a cartoon, 'Hanna, I Hardly Knew You', published in The Sydney Morning Herald on 13 September 1998.[7]
Bibliography[edit]
• Edwards, Tony (1975). Captain Goodvibes : Strange Tales. Avalon Beach, NSW: Tracks Publishing Company.
• Edwards, Tony (1975). Captain Goodvibes : the Whole Earth Pigalogue. Avalon Beach, NSW: Tracks Publishing Company.
• Edwards, Tony (1980). Captain Goodvibes Porkarama. Soundtracts.
• Edwards, Tony (1982). Ralph the rhino. Wellington Lane Press. ISBN 0-908022-02-6.
• Jarratt, Phil; Edwards, Tony (1985). Surfing, the dictionary. Sun Books. ISBN 0-7251-0489-9.
• Edwards, Tony; Doherty, Sean, (Editor) (2011). Captain Goodvibes : My Life As A Pork Chop. Flying Pineapple Media Pty Limited. ISBN 978-0-9808480-1-4.

Edwards Tonyview full entry
Reference: from DAAO: Tony Edwards b. 1944
Designer (Graphic Designer), Artist (Cartoonist / Illustrator)
Late 20th century Sydney cartoonist and poster designer. Mitchell Library has 103 ink drawings, 6 pencil drawings, 15 photographs and 7 prints by Edwards. cartoonist, born Strathfield, NSW, was illustrating for the National Times in 1986. Mitchell Library (PXD 607) has 103 ink drawings, 6 pencil drawings, 15 photographs and 7 prints 1973-80, including the comic strips “Doctor Art”, “Captain Goodvibes”, “Ralph the Rhino” and others presented under the Taxation Incentives for the Arts Scheme in 1992.
Image and short biographical entry in Australian Black-and-White Artists Club Book of Originals (1986), Art Gallery of New South Wales (178.1988.1-102).
Otton Malcolmview full entry
Reference: exhibited at the Barry Stern gallery in a Naive Show in August 1994.
naive artview full entry
Reference: Barry Stern gallery Naive Show in August 1994.
Publishing details: Barry Stern, 1994.
Ref: 1000
Bierzynski Annieview full entry
Reference: Near and Far, catalogue of exhibition by Annie Bierzynski at Thienny Lee Gallery. 30 works listed with thumbnail illustrations
Publishing details: Thienny Lee Gallery, 2019, 3pp
Ref: 224
Sayers Andrewview full entry
Reference: Andrew Sayers - Defining the artist. Exhibition catalogue, Lauraine Diggins Fine Art, March-April, 2019.
Publishing details: Lauraine Diggins Fine Art, March-April, 2019.
Ref: 224
Tcherepnine Jessica 1938-2018 botanical artistview full entry
Reference: obituary in Sydney Morning Herald
Publishing details: 17 January, 2019, p32
Ref: 137
Naughton Keith 1925-2018view full entry
Reference: obituary in Sydney Morning Herald
Publishing details: 9 January, 2019, p34
Ref: 137
Dean Tamaraview full entry
Reference: Endangered, catalogue, Martin Browne Contemporary, all works illustrated, with biographical information.
Publishing details: Martin Browne Contemporary, 2019, with price list.and invite inserted.
Ref: 221
Samstag Effectview full entry
Reference: see Kindle and Swag - The Samstag Effect, works by selected Samsatg scholars. An exhibition by Ron Wolfe.
Publishing details: University of South Australia Art Museum, 2004, 48pp
Burford Kristianview full entry
Reference: see Kindle and Swag - The Samstag Effect, works by selected Samsatg scholars. An exhibition by Ron Wolfe.
Publishing details: University of South Australia Art Museum, 2004, 48pp
Folland Nicholasview full entry
Reference: see Kindle and Swag - The Samstag Effect, works by selected Samsatg scholars. An exhibition by Ron Wolfe.
Publishing details: University of South Australia Art Museum, 2004, 48pp
Horn Timothyview full entry
Reference: see Kindle and Swag - The Samstag Effect, works by selected Samsatg scholars. An exhibition by Ron Wolfe.
Publishing details: University of South Australia Art Museum, 2004, 48pp
Paauwe Deborahview full entry
Reference: see Kindle and Swag - The Samstag Effect, works by selected Samsatg scholars. An exhibition by Ron Wolfe.
Publishing details: University of South Australia Art Museum, 2004, 48pp
Savvas Nikeview full entry
Reference: see Kindle and Swag - The Samstag Effect, works by selected Samsatg scholars. An exhibition by Ron Wolfe.
Publishing details: University of South Australia Art Museum, 2004, 48pp
Walch Meganview full entry
Reference: see Kindle and Swag - The Samstag Effect, works by selected Samsatg scholars. An exhibition by Ron Wolfe.
Publishing details: University of South Australia Art Museum, 2004, 48pp
Wallace Anneview full entry
Reference: see Kindle and Swag - The Samstag Effect, works by selected Samsatg scholars. An exhibition by Ron Wolfe.
Publishing details: University of South Australia Art Museum, 2004, 48pp
Art of Watercolour Painting Theview full entry
Reference: The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Ref: 137
Lockyer Major Edmund 1784-1860view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Martens Conradview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Prout John Skinnerview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Elyard Samuel view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Terry Frederick Cview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Turner Thomas 1813-1895view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Mitchell J Wview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Russell John Peterview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Young Blamireview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Streeton Arthurview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Heysen Hansview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Hilder Jessie Jewhurstview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Fairweather Ianview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Fizelle Rahview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Goodchild John Charles b1898view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Namatjira Albertview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Hunt Percy Ivor 1903-1971view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Bennett Portia M b1898view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Gude Nornie b1915view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Thake Erik Anchor b1904view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Thake Erik Anchor b1904view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Barker Leach 1897-1967view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Macnamara Frank b1916view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Nolan Sidneyview full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Cardamatis J Wolfgang b1917view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Coburn John b1925view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Weddell Ronald b1926view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Hanrahan Barbara b1939view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Pasco John b1949view full entry
Reference: see The Art of Watercolour Painting - A Western Australian Art Gallery State Touring Exhibition 1976-77. 34 exhibits. Includes biographical information.
Publishing details: Western Australian Art Gallery, 1976, 24pp
Bellette Jeanview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Blackman Charlesview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Boyd Arthurview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Brack Johnview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Smith Jack Carington view full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Counihan Noelview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Dobell Williamview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Doutney Charlesview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Drysdale russellview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
French Leonardview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Friend Donaldview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Grey-Smith Guyview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Lewers Margoview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Miller Godfreyview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Molvig Jonview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Nolan Sidneyview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Passmore Johnview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Smith Ericview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
Smith Ericview full entry
Reference: see Contemporary Australian painters / an exhibition organized by the National Galleries of Australia for circulation in Canada, 1957-1958. Foreword by Laurence Thomas. Includes biographical information on the 18 artists included in the exhibition.
Publishing details: Canada, University of Toronto Press, 1957, 20 pp., ill.
From Life view full entry
Reference: From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Ref: 4
Victorian College of the Artsview full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
National Art Schoolview full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Alston Meyer 1881 1965view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Bayliss Clifford 1916-89view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Bush Charles 1919-1989view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Caire John W 1872-1892view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Coates George J 1869-1930view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Collins William Gilbert 1889-1957view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Creswell Olive b1889view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Guest Nancy c1904-c1977view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Honey C Winifred 1892-1942view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Joel Grace 1865-1924view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Jones Marion 1892-1877view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
McInnes W B 1889-1939view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Macky E Spencer 1880-1958view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Parkin Constance later Constance Stokes 1906-1991view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Stokes Constance nee Parkin 1906-1991view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Pestell Margaret 1894-1984view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Quinn James 1871-1951view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Ramsay Hugh 1877-1906view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Redwood Pascoe 1901-1973view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Rowell John 1894-1973view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Sweatman Jo 1872-1956view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Wheeler Charles 1881-1977view full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Hall Bernard essayview full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Hall Bernard essayview full entry
Reference: see From Life - Works by Early Generations of Students at the National Art School, by Jacqueline Macnaughtan with an essay by Cushla Hill and Libby Melzer. With selected bibliography. Biographical information (relating to attendance at the NAS) on about 22 artists under the heading: ‘Each of the artists below is represented by one or more works in the Victorian College of the Arts’.
Publishing details: Victorian College of the Arts, 2004, pb, 32pp
Century of Women Artists Aview full entry
Reference: A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women artists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Albiston Valerie nee Cohen b1914view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Cohen Valerie later Valerie Albistonview full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Allen Davida b1951view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Bale Alice Marian Ellen 1875-1955view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Baskerville Margaret 1861-1930view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Beckett Clarice 1887-1935view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Braund Dorothy b1926view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Bryans Lina b1909view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Clark Margaret 1901-view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Cocks Myra 1901-1989view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Dent Aileen Rose 1890-1979view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Cohen Yvonne Frankel b1914view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Craig Sybil 1901 1989view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Dilger Stella Levero g (nee Whisson 1900-1992view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Whisson Stella 1900-1992 later Stella Levero Dilgerview full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Downing Edith c1880-1958view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Edwell Bernice E 1880-1962view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Evans Jessie Lovington 1860-1943view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Faulkner Sarah b1959view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Figuerola Alma 1902-1970view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Fox Ethel Carrick 1872-1952view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Gibbs Cecilia May (Mamie) 1877-1969view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Goodsir Agnes Noyes 1864-1939view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Gurdon Norah 1882-1974view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Haxton Elaine 1b909view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Holgate Maria 1866-c1940view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Kilgour Nancy May 1904-1954view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
MacLean Margaret F b1895-view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Macqueen Mary McCartney 1912-1994view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Mayo Eileen Rosemary 1906-1962view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
McLeish Mary E b circa 1915view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Moxham Miriam 1885-1971view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Muntz Adams Josephine 1862-1949 view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Adams Josephine Muntz 1862-1949 - see Muntz Adamsview full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Nicholas Emily Hilda Rix 1884-1961view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Outhwaite Ida Sherbourne Rentout 1884-1961view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Phillips Pat c1910- active 1940sview full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Proctor Aththea Mary (Thea) 1879-1966view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Pyke Guelda 1905-1995view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Ridsdale Dorothy d1972view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Stewart Janet Agnes Cumbrae 1883-1960view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Talbot Victoria Mary b1931view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Wall Edith 1904-1939view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Whitehead Dorothy 1900-1995view full entry
Reference: see A Century of Women Artists - Exhibition by Melbourne Fine Art, compiled by Jennifer Gadsden. Includes biographical information on approximately 40 women arists. All works illustrated. .
Publishing details: Melbourne Fine Art, 1996, pb, 24pp
Armstrong Bruceview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Ashikaview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Bartlett Geoffreyview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Berkowitz Laurenview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Blizzard Peterview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Clark John and Ian Burnsview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Burns Ian and Clark John view full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Calvert Mattview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Cole Peter Dview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Corlett Peterview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Davison Darren and Mathew Coxview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Cox Matthew and Davison Darren view full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Dall’Ava Augustineview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Di Mauro Sebastianview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Dwyer Mikalaview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Eggert Annaview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Hamilton Antonyview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Heller Brigitview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Ivimay Lindeview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Jensz Davidview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Johns Gregview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Jones Timview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Kossatz Lesview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Langton Christopherview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Laurence Janetview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Le Grand Michaelview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Liebach Romanview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Marcus Donnaview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Mauriks Adrianview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Murray-White Cliveview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Oliver Bronwynview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Owen Robertview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Page Adrianview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Robertson-Swann Campbellview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Robertson-Swann Ronview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Roet Lisaview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Rogers Andrewview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Ross Anneview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Squires Julieview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Turner Darrenview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Voevodin-Cash Nicoleview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Ward Karenview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Wilson Davidview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Wilson Garyview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Wilson Garyview full entry
Reference: see - McClelland Art Gallery, Sculpture exhibition. Essay by Robert Lindsay. Catalogue includes biographies and artist statements of 41 artists.
Publishing details: McClelland Art Gallery, 2003, 64pp
Six Contemporary Artistsview full entry
Reference: Six Contemporary Artists - Tasmanian Museum and Art Gallery. Includes artist biographies.
Publishing details: TMAG, 1985, pb, 16pp
Ref: 224
Boam Paulview full entry
Reference: see Six Contemporary Artists - Tasmanian Museum and Art Gallery. Includes artist biographies.
Publishing details: TMAG, 1985, pb, 16pp
Broad Rodneyview full entry
Reference: see Six Contemporary Artists - Tasmanian Museum and Art Gallery. Includes artist biographies.
Publishing details: TMAG, 1985, pb, 16pp
Hamilton Davidview full entry
Reference: see Six Contemporary Artists - Tasmanian Museum and Art Gallery. Includes artist biographies.
Publishing details: TMAG, 1985, pb, 16pp
Holzner Antonview full entry
Reference: see Six Contemporary Artists - Tasmanian Museum and Art Gallery. Includes artist biographies.
Publishing details: TMAG, 1985, pb, 16pp
Lincoln Kevinview full entry
Reference: see Six Contemporary Artists - Tasmanian Museum and Art Gallery. Includes artist biographies.
Publishing details: TMAG, 1985, pb, 16pp
Woods Tonyview full entry
Reference: see Six Contemporary Artists - Tasmanian Museum and Art Gallery. Includes artist biographies.
Publishing details: TMAG, 1985, pb, 16pp
Sea Fever by the Corsaire Artistsview full entry
Reference: Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Ref: 224
Milward-Bason Patriciaview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Taylor Pterview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
naive paintingview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Turnep Doreenview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Pringle Erinaview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Cox Gwenview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Drummond Alexiaview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Williams Josephineview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Swinden Helenview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Dupe Kenview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Dervan Laureneview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Walker Elizabethview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Edwards Dawnview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Adams Rosemaryview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Cooke Margaretview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Christie Margaretview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Tassicker Edithview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
McIntosh Maureenview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Prest Oliveview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Westrup Marianview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Mather Joanview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Robin Johnview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Butler Joyceview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Stewart Sandraview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Stewart Sandraview full entry
Reference: see Sea Fever by the Corsaire Artists. Catalogue includes notes on the paintings by the artists. Illustrated in b & w. Artists working in the naive style. Introduction by Patricia Milward-Bason, visual artist.
Publishing details: Queenscliffe Maritime Centre, (Victoria), 1987, pb, 8pp
Victorian College of the Artsview full entry
Reference: 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Ref: 224
Barbaris Ireneview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Barlow Annview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Foot Maxienneview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Gore Donaldview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Komis Vanview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
McCracken Richardview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Orr Fionaview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Polias Mariaview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Turpie Stephenview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Vaughan Sueview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Wragg Pamelaview full entry
Reference: see 1978 Graduate Exhibition of the Victorian College of the Arts. Catalogue includes artist biographies.
Publishing details: Victorian College of the Arts, 1978, pb, 12pp
Samstag Anne & Gordonview full entry
Reference: The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
Ref: 46
Colangelo Renatoview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
Elson Sarahview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
Gallois Mathieuview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
Hogan Annieview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
Horn Timothyview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
Howard Astraview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
Siwes Darrenview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
von Sturmer Danielview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
von Sturmer Danielview full entry
Reference: see The Anne & Gordon Samstag International Visual Arts Scholarships, 2002. Catalogue includes artists’ biographies.
Publishing details: University of South Australia, 2002, pb,
Metro 5 Opening Exhibition 2001view full entry
Reference: Metro 5 Opening Exhibition 2001. 36 artists included in catalogue. Works by Australian Modernists. Comments on works.
Publishing details: Metro 5, 2001, pb, 50pp
Ref: 137
Seidel Brianview full entry
Reference: see Metro 5 Opening Exhibition 2001. 36 artists included in catalogue. Works by Australian Modernists. Comments on works.
Publishing details: Metro 5, 2001, pb, 50pp
Rankin Davidview full entry
Reference: see Metro 5 Opening Exhibition 2001. 36 artists included in catalogue. Works by Australian Modernists. Comments on works.
Publishing details: Metro 5, 2001, pb, 50pp
Audette Yvonneview full entry
Reference: see Metro 5 Opening Exhibition 2001. 36 artists included in catalogue. Works by Australian Modernists. Comments on works.
Publishing details: Metro 5, 2001, pb, 50pp
Audette Yvonneview full entry
Reference: see Metro 5 Opening Exhibition 2001. 36 artists included in catalogue. Works by Australian Modernists. Comments on works.
Publishing details: Metro 5, 2001, pb, 50pp
Eltham Art Collection - Retrospectiveview full entry
Reference: Retrospective - An Exhibition of the Shire of Eltham Art Collection. 102 works listed. Most painted in the 1980s. Inclused some artist comments about works. Minimal biographical information. [to be indexed fully]
Publishing details: Community Arts Centre, Eltham, nd (1990?) pb, 36pp
Ref: 137
Boddy Janetview full entry
Reference: see Retrospective - An Exhibition of the Shire of Eltham Art Collection. 102 works listed. Most painted in the 1980s. Inclused some artist comments about works. Minimal biographical information. [to be indexed fully]
Publishing details: Community Arts Centre, Eltham, nd (1990?) pb, 36pp
Campbell Barbaraview full entry
Reference: Into the Light by Duncan Campbell. Memoir written by Duncan Campbell who was husband of artist Barbara Campbell [’Beginning as a boyhood encounter with two Italian POWs from the Mediterranean put to work on his grandmother’s vineyard in the Clare Valley of South Australia and through a career living in a variety of countries as a diplomat, this is the story of how Duncan Campbell’s experience with Italy gradually grew into a love affair with its language, people, history, and the beauty of its countryside. This began with his first experience in Verona and grew with his posting as ambassador to Rome and later with the many months spent each year in a Tuscan village.’]
Publishing details: Duncan Campbell, 2018, privately printed, pb, 236pp with index
Hanson Albertview full entry
Reference: See Sydney Morning Herald 5 Sept 1896, p5: ALBERT HANSON'S Art Union. — The Drawing takes place at 12 Bridge St., Friday, 11 September, 1896’
Quilty Benview full entry
Reference: Good Weekend article in Sydney Morning Herald on Ben Quilty by Brook Turner, February 23, 2019.
Publishing details: SMH, Good Weekend, February 23, 2019. [Inserted in Ben Quilty -After Afghanistan, curated by Laura Webster].
Parkinson Sydney Endeavour River engravingview full entry
Reference: see Old World Auctions
Glen Allen, VA, USA, lot 197, March 17, 2019:

Endeavour River, Australia. Capt. James Cook, Vue de la Riviere d'Endeavour sur la Cote de la Nouvelle Hollande ou le Vaisseau fut mis a la Bande, 1774 (circa). Black & White. This view was captured by Sydney Parkinson, an artist who sailed with Captain James Cook on his first voyage. Parkinson and fellow artist Alexander Buchan were employed by naturalist Joseph Banks to document the sights and discoveries of new plants, animals, and indigenous people during Cook's voyage. Although Parkinson's specialty was botanicals, he was asked to draw fauna, flora, portraits, and landscapes after Buchan (a topographical draughtsman) died in Tahiti. Parkinson made over 1300 drawings and sketches during the voyage before dying of dysentery in January 1771. Parkinson is credited as the first to draw an authentic Australian landscape and the first to portray aboriginals based on direct observation.


This view depicts Cook's ship, the Endeavour, careened for repairs on the shore of the Endeavour River on the coast of Queensland. On June 11, 1770, the Endeavour struck a reef within the Great Barrier Reef system, causing a hole in the hull of the ship. Cook and his crew spent several weeks on the shore of the Endeavour River making repairs before heading north to Batavia. Engraved by Pierre Jacques Duret. This view was first published in the English edition of Account of the voyages undertaken by the order of His present Majesty for making discoveries in the southern hemisphere by John Hawkesworth in 1773, which was republished in French the following year.

Cant Jamesview full entry
Reference: see Colville auctions Hobart, 5 March, 2019, lot 81:
James Cant (1911 - 1983) - (Studio Interior) James Montgomery Cant studied art at Antonio Dattilo-Rubbo’s Saturday morning class, and later at East Sydney Technical College and Julian Ashton’s Sydney Art School. In 1934 he left for London where the modernist artist Roi de Maistre, who had been an early influence in Sydney, introduced him to forward-looking art, artists and galleries. In 1935-39 Cant produced the most adventurous art of his career. He experimented with the late cubist style of Georges Braque and Pablo Picasso and the surrealism of Giorgio de Chirico and René Magritte. His most advanced works, however, were his `Found Objects’ and `Constructed Objects’, sculptures and assemblages that he exhibited in London in 1937 and 1938. These were the most avant-garde works of any Australian artist in the first half of the twentieth century. In 1937 Cant exhibited with de Chirico, Max Ernst and Paul Klee. He travelled to France and Spain and met many of the artists whom he admired including Braque, Picasso, Magritte and Joan Mirò. Cant returned to Sydney in 1939 and next year held a one-man show at the Macquarie Galleries. Enlisting on 9 May 1941 in the Citizen Military Forces, he performed camouflage duties with the Royal Australian Engineers being discharged on 18 May 1944. In later life he was to declare his religion as surrealist and helped to form the Studio of Realist Art in 1945. Employed by the Australian Museum as a display adviser, Cant also painted arid Australian landscapes and works influenced by Aboriginal art and he produced reconstructions of Oenpelli rock art. In 1949 the Cants accompanied a display of these paintings to London. Remaining there for five years. Back in Australia in 1955, the Cants settled permanently in Adelaide He died 1982. The Art Gallery of South Australia staged a retrospective exhibition of his art in 1984 and a joint exhibition of his art and that of Dora Chapman in 1995. His work is represented in the National Gallery of Australia and all mainland State galleries.James Cant (1911 - 1983) - (Studio Interior) James Montgomery Cant studied art at Antonio Dattilo-Rubbo’s Saturday morning class, and later at East Sydney Technical College and Julian Ashton’s Sydney Art School. In 1934 he left for London where the modernist artist Roi de Maistre, who had been an early influence in Sydney, introduced him to forward-looking art, artists and galleries. In 1935-39 Cant produced the most adventurous art of his career. He experimented with the late cubist style of Georges Braque and Pablo Picasso and the surrealism of Giorgio de Chirico and René Magritte. His most advanced works, however, were his `Found Objects’ and `Constructed Objects’, sculptures and assemblages that he exhibited in London in 1937 and 1938. These were the most avant-garde works of any Australian artist in the first half of the twentieth century. In 1937 Cant exhibited with de Chirico, Max Ernst and Paul Klee. He travelled to France and Spain and met many of the artists whom he admired including Braque, Picasso, Magritte and Joan Mirò. Cant returned to Sydney in 1939 and next year held a one-man show at the Macquarie Galleries. Enlisting on 9 May 1941 in the Citizen Military Forces, he performed camouflage duties with the Royal Australian Engineers being discharged on 18 May 1944. In later life he was to declare his religion as surrealist and helped to form the Studio of Realist Art in 1945. Employed by the Australian Museum as a display adviser, Cant also painted arid Australian landscapes and works influenced by Aboriginal art and he produced reconstructions of Oenpelli rock art. In 1949 the Cants accompanied a display of these paintings to London. Remaining there for five years. Back in Australia in 1955, the Cants settled permanently in Adelaide He died 1982. The Art Gallery of South Australia staged a retrospective exhibition of his art in 1984 and a joint exhibition of his art and that of Dora Chapman in 1995. His work is represented in the National Gallery of Australia and all mainland State galleries.

Dimensions: 55 x 39cm (sight) 78 x 61cm (fr)

Costantini C H T 1803-1860view full entry
Reference: From Masterpiece @ IXL Galley, Hobart Tasmania, website, 2019: ‘One of the most colourful characters and artists of the early years of the Tasmanian colony, Charles Henry Theodore Costantini, thief, forger, surgeon and artist was born in Paris in 1803 and is distinguished by being one of the few convicts transported twice to Australia.  Despite these beginnings, Costantini received his certificate of freedom in 1834, after which time he established himself as a painter of portraits and homesteads in Van Diemen’s Land. Much of his life remains shrouded in mystery, and it appears he was more than happy to be an enigma. Cosntaitini died in Hawaii in 1860, age 57.’
Evans G Wview full entry
Reference: From Masterpiece @ IXL Galley, Hobart Tasmania, website, 2019: After George William Evans (1780 – 1852)
‘Hobart Town’ c. 1825
Staffordshire earthenware plate with blue and white transfer pattern
23 cm diameter
George William Evans (1780 – 1852) is today best remembered for his role in surveying and exploring the then newly established colonies of New South Wales and Van Diemen’s Land. For his efforts in discovering a passage through the Great Dividing Range into the interior of the former colony, he was awarded 1,000 acres in the Coal River Valley, Van Diemen’s Land. In 1825, Evans was appointed Surveyor General of Tasmania, however did not assume office. Outside his surveying work, Evans was also known as an artist of some repute, and in 1822 published A Geographical, Historical and Topographical Description of Van Diemen’s Land.1
This transfer printed Staffordshire plate, produced circa 1825, is based on an image of Hobart town by Evans which served as a frontispiece in his publication. Remaining examples of similar works depicting North American coastal cities identify the piece as one of a set depicting world ports. The piece is considered the earliest depiction of Australia on ceramic.
1. Weatherburn, A K, ‘Evans, George William (1780 – 1852)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University
Forrest Haughtonview full entry
Reference: From Masterpiece @ IXL Galley, Hobart Tasmania, website, 2019: After an early life spent painting between military life and extensive travel between Europe, Jamaica and Brazil, Haughton Forrest (1826 – 1925) emigrated from Britain to Tasmania in 1876. He painted prolifically after his arrival, becoming known for his meticulous paintings of Tasmanian maritime scenes and wilderness landscapes.
Irvine  Jemima Frances (1822 – 1918)view full entry
Reference: From Masterpiece @ IXL Galley, Hobart Tasmania, website, 2019: Jemima Frances Irvine  (1822 – 1918)
(Purple and Yellow Pansies) 1866, (Tulips & Bluebells) & (Orchids)
Watercolour on paper
Various sizes
Jemima Frances Irvine nee Burn (1822 – 1918) emigrated from Scotland to Tasmania with her father, playwright David Burn (c. 1799 – 1875) at the age of four. They lived initially with her grandmother at the Hamilton property Ellangowan, later moving to Rotherwood, Ouse. In 1843 she married Charles James Irvine who was appointed senior assistant superintendent at the Port Arthur penal colony. Despite the notoriety of the settlement, Irvine regarded her time spent there with fondness; ‘In those days there was a charming society at Port Arthur… all [of the officials, their clerks and their families] were intelligent, musical and altogether delightful people… We were very happy and so were many of the prisoners’.1 Irvine later moved to Ingleside, Evandale, where she became known as an avid collector, artist and conchologist. She remained at Evandale until her death in 1918.
1. Kerr, J (1992), Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, Oxford University Press, Melbourne, pp. 391 – 392
Dowling Robertview full entry
Reference: From Masterpiece @ IXL Galley, Hobart Tasmania, website, 2019: Attributed Robert Hawker Dowling (1827 – 1886)
Portrait of Olof Hilmer Hedberg (1817 – 1884) c. 1850s
Oil on canvas
104 x 78.5 cm
Unsigned
Olof Hilmer Hedberg (1817 – 1884) arrived in Hobart in 1844, establishing himself as a whaling identity during the peak of the industry and founding a dynasty that remains to this day. Generations of Hedbergs have left their mark on the state of Tasmania in fields as broad as brewing, fisheries and spatial science. The family legacy in now being honoured with the naming of the performing arts centre ‘The Hedberg’, currently being built on the site of Hedberg Bros. Garage, Collins Street, Hobart.
This large portrait was sourced from the collection of a descendant of colonial frame maker and fine art dealer Robin Vaughan Hood (1802 – 1888), who was a known associate of the Hedberg family. It is believed that the painting was painted by colonial portraitist Robert Hawker Dowling (1827 – 1886), who opened his Hobart studios in 1852, where he worked until his departure for England in 1857.

Duke William (1815 – 1853)view full entry
Reference: From Masterpiece @ IXL Galley, Hobart Tasmania, website, 2019: William Duke
(The Barque Derwent of the Coast of Dover) c. 1849
Oil on canvas
62 x 92.5 cm
Unsigned
Provenance:
The Simon Brown Collection, Ellenthorpe Hall, Ross, Tasmania
Private Collection, Launceston
Although William Charles Duke (1814 – 1853) spent only seven years in the colony of Van Diemen’s Land, his impact on the maritime art of the island was enormous. Duke arrived in Hobart in May 1845, having travelled from New Zealand aboard the Sir John Franklin.  As a painter of some talent, he quickly took up portraiture commissions and found employment creating theatre sets. As the decade progressed and the whaling industry entered its peak, he found local fame after publishing four lithographs depicting the whaling activity in the area.
Duke’s style was deeply indebted to the work of English maritime artist William John Huggins (1781 – 1845). One of the four prints, titled The Flurry, was a direct copy of a whaling scene by Huggins. Despite this, the series drew the attention of local ship owners. In 1849, when the Hobart whaling fleet reached its peak of 34 Hobart owned and operated vessels, Duke produced his best-known whaling scene, Offshore Whaling with the Aladdin and Jane, now housed in the collection of the Tasmanian Museum and Art Gallery.
That same year, on the 22nd of August, 1849, the Hobart Courier reported the launch of the Derwent, a 140 foot barque built by Messrs. H. Degraves, Brown & Co.. The article goes on to report ‘Her figure-head was carved by Mr. Duke, and represents a female in a beckoning attitude, and is 6 feet 3 inches in height’. 1 The ship was intended for regular trade between Hobart and London, and in September that year Henry Degraves and Brown & Co. placed an advertised freight services to London in the Colonial Times.
In depicting the The Derwent, Duke has taken a direct cue from the work of Huggins by placing the ship off the White Cliffs of Dover and having ship repeated, sailing into the distance, on the right-hand side of the work. The painting was discovered following the dispersal of the Simon Brown collection, Ellenthorpe Hall, in 2006. 3
1. The Courier (22 August 1849, Hobart), ‘The “Derwent”‘, p. 2
2. Colonial Times (28 September 1849, Hobart), ‘Advertising’, p. 3
3. Stevenson, M, The Examiner (1 July 2006), ‘Rare 1825 Sideboard is sold for $94,000’
Piguenit W C (1836 – 1914)view full entry
Reference: From Masterpiece @ IXL Galley, Hobart Tasmania, website, 2019: WILLIAM CHARLES PIGUENIT - The colony’s first Australian born landscape artist of note, William Charles Piguenit (1836 – 1914), is known for his glorious scenes of mountains, rivers and lakes, capturing the topography of Tasmania in colonial times.
Born in Hobart in 1836, Piguenit was the son of a convict, Frederick Le Geyt Piguenit, who was transported in 1830. Piguenit joined the Lands and Survey Department as a draughtsman in 1850, where he worked for the next 23 years. Despite leaving the Department to focus on his painting, Piguenit’s background in surveying continued to influence his art, and throughout his artistic career he took part in a number of treks through Tasmanian wilderness areas, producing sketches of remote scenery which he later developed into larger paintings.
Hogan Tim art dealerview full entry
Reference: from AASD website: Com-missions accomplished - by the thousand. Vale Tim Hogan
By Terry Ingram, on 23-Feb-2019
Yet another of the last links with the frenetic and colourful antique and art worlds of the 1970s and 1980s has been severed with the death of Timothy John Hogan on February 13, 2019.
Tim, who was 76 years old, was the proprietor of John A. Hogan Galleries, founded by his father Jack. The business was later named Malvern Fine Art and located in High Street, Armadale and more recently behind Armadale Station; and in the early years the Block Gallery in the CBD in the leading city arcade after which it was named. The Malvern galleries were usefully near to Malvern Town Hall where Leonard Joel’s held their thrice yearly art sales from the 1970s to the 1990s.
Being the second generation of a business founded by a his dynamic, lively and smartly dressed father Jack Hogan, who was rarely seen not wearing a suit and sported a neatly manicured moustache – Tim had much to live up to. Jack also had close relationships with many of the artists of the day whose work was then keenly sought after but whose following has since dwindled.
Now usually described as traditional, the stock was by artists such as by Ernest Buckmaster, William Rowell and James R. Jackson. Tim continued this format, expanding it more to include Colonial artists. He is remembered also having made impressive discoveries of works, particularly by Eugene von Guerard. But as a result, he was hard hit by the change in fashion and the "recession we had to have” in 1996.
However he was able to put this behind him and was able to maintain and build upon his former ties with the trade to become one of Australia’s leading commission agents, possibly placing more of the commission bids at Melbourne auctions such as Joel’s, McCanns and Aingers than any other operator. His knowledge also supported a valuation business.
The second potential blow to his business was the subtle, creeping arrival of internet bidding, where bidders who were not seeking the absolute discretion and convenience of a bidding agent could achieve this on their own from their office or the home. Nevertheless, he remained one of the masters of this specialisation that had been an integral part of the Melbourne antiques and art trade since its origins in Victorian times. Tim was to be found at the auctions almost as frequently as Joan McClelland who died last year.
Auctioneeer Graham Joel, who died last month, was his main focus of attention during countless auctions involving thousands of art works and antiques. In an interview in 2014 he recalled attending his first Joel's auction at the age of 6.
Despite attending to the steady flow of commissions a constant stream of bids he found a healthy diversion in rowing for which he received many medals but his stamina was tested in the last few months when he lost a four year battle with cancer.
He had many close friendships and valued relationships with members of the trade. These include Jim Elder of Adelaide who had an association with him of several decades. Tim operated a bidding service in conjunction with fellow bidding agent Lester de Vere for over 21 years. By amicable agreement the partnership, known as the Independent Bidding Service ceased operating 4 years ago. Other members of the trade including auctioneer John Ainger and art consultant Chris Cullity spoke very highly of him as did several others of the same vintage – from an era when dealers and an appreciation of the past flourished as keenly as the art of the present is appreciated today.
A catalogued joint exhibition held with a then new-to-the scene Chris Deutscher in 1979 was a landmark in Australian taste and there were several other such joint ventures with dealers. Punters such as Harry the Hat and Justin Barker (a veterinarian with a keen eye for the traditional) were often on his doorstep or joined him at Armadale pub celebrations after an auction.
Hogan was described as a sounding board for the Melbourne art trade business as well as having considerable knowledge of art that he was happy to share with anyone who sought it. He also did ready favours for people in need of them
There was a full house at the wake held for him at Leonard Joel's auction rooms in South Yarra on 21 February.
Tim leaves behind his partner Ami, children Amy, Sam and Tom with his first wife Helen, and seven grandchildren.
Stocqueler Edwinview full entry
Reference: see (1980), 'Thirty Australian Paintings’, Melbourne, Vic : Deutscher Fine Art catalogue, (September-October 1980). [source DAAO references]
Publishing details: Melbourne, Vic : Deutscher Fine Art catalogue, 1980
Stocqueler Edwinview full entry
Reference: DAAO references:
• (September 1978), '[Sotheby’s Auction Catalogue]’.
• Zachary Macaulay (1895), 'Anti Slavery Reporter’, London, England, UK.
• Editor (26 May 1870), 'Times of India’.
http://search.fibis.org/frontis/bin/simplesearchsummarycat.php?s_id=432&sn=stocqueler&fn=&f=&to=&t=&c=&searchtype=exact&tn=5

• Stephens, L; & . Lee, S. (eds.) (1885), 'Dictionary of National Biographies’, London, England, UK : 22 vols, 1885-1901.
• Gordon-Brown, A. (1975), 'Pictorial Africana’, Cape Town, South Africa.
• Colligan, Mimi (2002), 'Canvas Documentaries’, Melbourne, Vic : Melbourne University Press.
• Stocqueler, J. H. (1873), 'Memoirs of a Journalist’, Bombay, India.
• (1980), 'Thirty Australian Paintings’, Melbourne, Vic : Deutscher Fine Art catalogue, (September-October 1980).
• (16 May 1939), Castlemaine Mail.
• (18 June 1859), Melbourne Morning Herald.
• '[India Office Records: Ecclesiastical Records, N/3/9/220]’, London, England, UK : India Office Library.
• Colligan, Mimi (1987), 'Canvas and wax: Panoramas and waxworks in 19th century Melbourne’, Victoria : PhD thesis, Monash University.
Initial data sources
• The Dictionary of Australian Artists: painters, sketchers, photographers and engravers to 1870
Stocqueler Edwinview full entry
Reference: Edwin Roper Loftus Stocqueler
Edwin Stocqueler is scarcely represented within Australian collections. This has relegated him to an obscurity characteristic of the less reputed artists who emerged in Australia during the 1850s.

Stocqueler’s surviving paintings serve as a visual record of the colonial period. Although few of this works remain, newspaper reports indicate a broader interest encompassing natural history and the environment. His detailed paintings, particularly of the narrative surrounding the early discovery of gold, provide specific details of daily life on the diggings. In a sense, Stocqueler may be described as the archetypal mid nineteenth century traveller who recorded his journeys in watercolour, oil or pencil.

Edwin Stocqueler was born in Bombay in 1829 and later educated at Eton and Trinity College, Cambridge. Hi father, Joachim Hayward Stocqueler, had a chequered career as an officer, journalist and playwright. Following the separation of his parents, Edwin Stocqueler and his mother, Jane Stocqueler was lured to the Victorian gold fields, a common destination for many of their contemporaries. From all accounts it would appear that Edwin Stocqueler was present on the Bendigo gold fields during the mid 1850s.

The oil painting titled Australian gold diggings c1855 is a colourful depiction of gold miners panning, cradling and digging for gold. In this work, Stocqueler provides a detailed narrative within a shallow valley. The viewer is placed amidst a backdrop of canvas tents and the vigorous activity of the miners. Artists of this period including S.T. Gill and George Lacy portrayed with humour various aspects of life on the diggings. Edwin Stocqueler, however, adopted a realistic approach unconsciously conveying the environmental impact of alluvial gold mining.

Similarly, the oil painting Castlemaine From Ten Foot Hill c1858 favours the landscape above the human narrative. Mullock heaps, lopped trees, an absences of vegetation and a disorientated goat furnish the scarred landscape beyond the mildly civilised town of Castlemaine. A solitary figure engaged in the working of a mine demonstrates the inconsequentiality of the individual in the broader theme of landscape.


Edwin Stocqueler
Digging for Gold,
1880 (from sketches made in Australia 1854)
Oil on canvas
95.0 x 26.0cm
Hordern House Rare Books, Manuscripts, Paintings and Prints.

Digging for gold was executed in 1880, supposedly from sketches made during the 1850s. In this painting the artist’s interest in pictorial accuracy has been supplanted by a literal interpretation. Stocqueler revisits the gold fields with analytical intent, and the significance of landscape and environment further overshadows that of the individual. This panoramic depiction of the gold fields enables the viewer to witness the profound changes mining brought to the environment.

In contrast to these works, the watercolour entitled Pall Mall, 1856 merely records the buildings, townsfolk and landscape. The gaunt profile of an ironbark tree mirrors the emergence of prosperity and gentility amidst the dusty debris of the main street. The view is neither panoramic nor topographical. This watercolour emerged in 1891 and was gifted to Bendigo Art Gallery, becoming one of the first examples of a work on paper to enter the collection. Its passage to Australia from London reveals a story with notably Dickensian flavour. Whilst in London, Stocqueler "who had seen better days" met Mr Charles Walsh Pugh, an associate of his who had taken part in the anti-licence agitation on the gold fields. Stocqueler offered the painting to Mr Pugh, who accepted the "relic of old Bendigo" and subsequently presented it to the town clerk of Bendigo, Mr W.D. C Denovan, on his return to Australia.

These paintings represent a fragment of the artist’s work. "Stocqueler’s Diorama" for example was launched in 1857 and exhibited in the local Mechanics Institute in Bendigo. According to reports the painting took four years to complete, was one mile in length and comprised seventy individual pictures. "It begins with Melbourne and Bendigo four years ago – takes in M’Ivor, the Goulburn, the Upper Murray, the Ovens and back again to Sandhurst". Residents of the newly established town on Bendigo creek flocked to the exhibition, which later travelled to Melbourne. It is from these reports that we are given a description of a major work, which has since vanished without a trace.

The location of the diorama might perhaps hold the key to uncover a thorough visual record of place and would present the historian with a clearer indication of this artist’s intent. Until such time Edwin Stocqueler will remain an elusive character, categorised with those artists who faded into obscurity, overshadowed by the more prolific artists of the day. Edwin Stocqueler died in London in 1895.


Credits
By Karen Quinlan.
From Gold and Civilisation, National Museum of Australia 2001. Published by Art Exhibitions Australia Ltd and the National Museum of Australia.
Stocqueler Edwin p51-60view full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Clark Thomas p56 60view full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Pitt William p56 60 61 etc see indexview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Ashton George Rossi and Julian p93view full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Becker Ludwig p56 58 59view full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Brees Samuel Charles p35 37 38view full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
colonial artview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
panoramas and dioramasview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
dioramas and panoramas view full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
goldfields artview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Gordon Georgeview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Habbe Alexander - Danishview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
theatre designersview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
scene paintersview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Hennings John various referencesview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Short Williamview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Short Henryview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Strutt William p56 58view full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Taylor Major Jamesview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Wilson W J settled in Australia 1855 - various referencesview full entry
Reference: see Canvas Documentaries, panoramic entertainments in nineteenth-century Australia and New Zealand, by Mimi Colligan. Includes some biographical information on artists in passing. ‘Captures the artistic, civic and social preoccupations of the Victorian era’
Contents
1. Grand Tours for a Shilling: The English background
2. Moving Panoramas: Presenting the world and local exploits
3. Panorama Business: Far-off battles and armchair travel
4. Across the Stage: Moving panoramas in Australian theatre
5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks
6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas
7. At the Battles: Cycloramas in Australia
8. Exhibiting Old Melbourne: The cyclorama of early Melbourne
9. Around the Country: The intercolonial cyclorama circuit
10. On the Move: The decline of panoramic picture shows.
Publishing details: Melbourne University Press, 2002, hc, xvi, 250 p. : ill. (some col.), ports, plans. Includes bibiographical references and index.
Bibliography: p 236-240.
Daughters of the Sunview full entry
Reference: Daughters of the sun: Christian Waller & Klytie Pate, Emma Busowsky Cox (editor) ; Emma Busowsky Cox (author) ; Grace Blakeley-Carroll (author) ; Fred Kroh (photographer).
Publishing details: Bendigo Art Gallery, 2018, hc, 119pp
Goldin   Barbara view full entry
Reference: Barbara Goldin  - Out and back 
 
Exhibition: 14 March - 2 April 2019

Barbara Goldin takes inspiration from her experiences in the vast and varied Australian landscape in her new exhibition Out and Back. Based on the artist’s recent visits to the Pilbara, Karijini National Park and the Kimberley, the series reflects the subjective memories contained within place. Goldin captures the essence of her subject matter within the canvas, remaining faithful to its true nature whilst drawing forth the specificity of her own understandings through abstraction. Her quality of light and tone, as well as the powerful gestures of her brushwork, are a testament to the landscape’s immensity and beauty.

“I often use ink, charcoal from the camp-fire, and natural pigments such as ochre that I collect from the earth on site. This way, I am able to express and adapt the stories that become apparent to me. My work is a response to the quality of light, the vibrant colours and textures of the land” – Barbara Goldin

The exhibition will be opened by Dr. Ruth Safier, psychiatrist, psychoanalyst and art enthusiast.


Publishing details: Thienny Lee Gallery, 2018
Ref: 1000
Leason Percyview full entry
Reference: Lawsons auction: Percy Leason: The Great Australian Tonalist - Sale 8185A - 15 April 2016, 35 lots, many nudes, mostly oils.

Publishing details: Lawsons, Sydney, 2016
Ref: 1000
Tasmanian Framemakers view full entry
Reference: Tasmanian Framemakers 1830 - 1930 - A directory by Therese Mulford
Publishing details: Queen Victorua Museum & Art Gallery, 1997, pb
Ref: 300
Nolan Sidneyview full entry
Reference: Sidney Nolan by Kenneth Clark, Colin MacInnes, Bryan Robertson. The first monograph on an Australian artist published outside of Australia. The rare deluxe edition with original unique artwork.

Publishing details: London : Thames and Hudson, 1961. Quarto, gilt-lettered half calf over linen, matching slipcase (foxed), all edges gilt, 119 plates (16 in colour tipped-in), preliminaries foxed, signed by Sidney Nolan and the three authors, with an original signed monotype of two figures tipped-in. Limited to 60 copies.
Ref: 1000
Morris Katherineview full entry
Reference: Gay days by Katherine Morris, (illustrator); New South Wales. Dept. of Education. Infants' Reading Committee


Publishing details: Sydney : Dept. of Education. Infant’s Reading Committee, [c.1950]. Royal octavo, pictorial limp wrappers 47 pp,
Ref: 1000
Driscoll ‘Wally’ Anthonyview full entry
Reference: DOUGLAS, Mary; DRISCOLL, Wally (illustrator); The rocking donkey : also Sylvester goes a-seeking ; and The three lost toys/ the stories by Mary Douglas and the pictures by Wally Driscoll. Line-drawn illustrations throughout (many full-page and bi-chrome)
Publishing details: Melbourne, Vic. : E.W. Cole, [1953?]. Octavo, apricot cloth over boards pp 127.
Ref: 1000
North Marianview full entry
Reference: Marianne North : a very intrepid painter by Michelle Payne, extensively illustrated. Botanical works including those painted in Australia and New Zealand.
Publishing details: London : Kew Publishing, Royal Botanic Gardens, 2011 (2012 reprint). Oblong quarto, illustrated wrappers, pp. 96,
Ref: 1000
Boyd Davidview full entry
Reference: Recent paintings by David Boyd

Publishing details: Adelaide : Lidums Art Gallery, 1970. Illustrated exhibition card, trifold brochure, pp. [6].
Ref: 1000
Boyd Arthurview full entry
Reference: Arthur Boyd : five decades
Exhibition catalogue with numerous coloured plates throughout. Includes loosely inserted price list of works.
Publishing details: Sydney : Savill Galleries, 1991. Quarto, illustrated wrappers, [20] pp.
Ref: 1000
Thallon Johnview full entry
Reference: in Newhouse, C 1999 John Thallon 1848-1918, Melbourne Journal of Technical Studies in Art, Vol 1, Frames, The University of Melbourne Conservation Service, Australia

Allnutt Dorothea view full entry
Reference: Dorothea Allnutt
1910 – 1996
Dorothea Allnutt studied art and craft at the Ballarat School of Mines and subsequently worked as a demonstrator and tutor for the Victorian Women’s Institute and for the Country Women’s Association in Victoria. During the Second World War she worked with the well known Victorian fabric designer Frances Burke. She joined the Embroiderers’ Guild in London in 1950 and moved to Sydney with her family in 1951. From 1953 she was employed as an art and craft teacher at Abbotsleigh School, an occupation that she continued until her retirement circa 1980. She was a foundation member of the Embroiderers’ Guild of NSW, served as the Chairman in 1960, and taught classes in the early years of the organisation’s history. She does not appear to have exhibited creative embroidery in Embroiderers’ Guild exhibitions, although the work of her students at Abbotsleigh was regularly included in the major exhibitions held in the Education Department Gallery in the late 1960s.
Much of Dorothea Allnutt’s own work appears to have been made for family and friends, although she coordinated a number of group projects, including a series of panels for the assembly hall at The Kings School, ecclesiastical embroideries for St Paul’s College at Sydney University and for the chapel at Abbotsleigh School, and a large hanging titled ‘The Curtain of the Saints’. She was a member of the Craft Association of NSW, but did not belong to the Creative Embroidery Association.
Dorothea Allnutt visited the United Kingdom in 1963 to study ecclesiastical and contemporary embroidery. In 1973 she applied for and was awarded an Australia Council grant which enabled her to spend six months in the United Kingdom in 1974. During this trip
245
she viewed exhibitions of contemporary embroidery and attended classes at the Embroiderers’ Guild in London and at the Bishop Lonsdale College of Further Education.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Arthur Ruthview full entry
Reference: Ruth Arthur
d. 1983
Very little detail is known about Ruth Arthur’s background. She is remembered as a talented embroidery and appears to have been a reserved woman who did not mix socially with other members of the creative embroidery community.
Her work was included in the Embroiderers’ Guild Exhibition at the Education Department Gallery in November 1968, so presumably she was a member of the organisation by that time. She served briefly as the Guild’s treasurer in 1970 and as its secretary in 1972. As well as exhibiting regularly with the Embroiderers’ Guild of NSW, her work was included in the Craft Association of NSW exhibition in 1971 and again in 1973. She also exhibited two pieces in the inaugural Tamworth Fibre Exhibition in 1975. She taught for the Lane Cove Creative Arts Group in Lane Cove and was a tutor at McGregor Summer School in Toowoomba in 1973. She was a member of the Creative Embroidery Association until her death in 1983.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Socha Prueview full entry
Reference: Prue Socha
b. 1930
Prue Socha completed a Diploma of Occupational Therapy in 1949. She joined the Embroiderers’ Guild of NSW in the late 1960s and in 1970 was awarded the City and Guilds Certificate in Embroidery. She taught embroidery for the Embroiderers’ Guild of NSW, for the Craft Association of NSW, and for other organisations. From 1971 until 1977 she taught embroidery summer schools at the Darling Downs Institute of Higher Education. She was a founding member of the Creative Embroidery Association. Her work was exhibited regularly in Embroiderers’ Guild of NSW and Creative Embroidery Association exhibitions. She participated in several Craft Association of NSW exhibitions and in joint exhibitions with Pat Langford and Heather Joynes in the early nineteen seventies. Her work is held in the collections of the Powerhouse Museum and the National Gallery of Australia.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Bakewell Ann-Marie view full entry
Reference: Ann-Marie Bakewell
Ann-Marie Bakewell has been involved with the Embroiderers’ Guild of NSW since the mid nineteen sixties and her work was regularly included in their exhibitions throughout the late nineteen sixties and early nineteen seventies. In 1971 she achieved first place in the City and Guilds examinations in embroidery and from that time was involved in teaching for the Embroiderers’ Guild and other organisations. She was a member of the Creative Embroidery Association and exhibited with that group, but appears never to have submitted work to selected exhibitions or to have aspired to a solo exhibition of her own work.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Barton Shirley view full entry
Reference: Shirley Barton trained as a commercial artist in Perth and also studied drawing with Thea Proctor in Sydney. In the 1972 she was based in Wollongong and participating in Embroiderers’ Guild exhibitions. She joined the Creative Embroidery Association in 1973. She was one of several creative embroiderers whose work was included in the first Tamworth Fibre Exhibition in 1975.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Bernays Audrey view full entry
Reference: Audrey Bernays
Audrey Bernays is a Wollongong based embroiderer who was awarded the City and Guilds Certificate in Embroidery in 1972. In 1974 she coordinated one of the teams of assessors for the Embroiderers’ Guild of NSW correspondence course in creative embroidery and was one of those awarded a teacher’s certificate by the Guild. She joined the Creative Embroidery Association in 1973, exhibiting regularly with that group and her work was shown in the first Tamworth Fibre Exhibition in 1975.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Bottrell Fayview full entry
Reference: Fay Bottrell
(Fay Endean)
b. 1927
Fay Bottrell trained at the National Art School in Sydney, becoming interested in textiles when she and Mona Hessing discovered a collection of abandoned looms at the college. She worked for Mary White School of Design in Sydney in late nineteen sixties and taught at City Art Institute in the mid nineteen seventies. Although never a part of the embroidery community as such, Fay Bottrell taught workshops for the Embroiderers’ Guild of NSW. Her book, The artist craftsman in Australia : Aspects of sensibility, was published in 1972 and her stitched textiles were included in the Craft Association of NSW exhibition in 1969 and in the first Tamworth Fibre Exhibition in 1975. Her work was also shown at the Holdsworth Galleries in Sydney in 1972. In the early nineteen seventies she served on the Crafts Board of the Australia Council. Her work is held in the National Gallery of Australia.


From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Burgh May view full entry
Reference: May Burgh is another embroiderer about whom little is known. She trained initially as a primary school teacher, before completing a Diploma of Science and transferring to high school teaching. Her initial interest in embroidery was in traditional techniques, which she studied at the Royal School of Needlework. In the early 1960s she became interested in machine embroidery, apparently teaching herself with the aid of books by Christine Risley and Enid Mason. She appears to have been one of the first embroiderers in Sydney to experiment with the technique, which she demonstrated on ABC television in 1963. Her machine embroidery was included in the Guild exhibition at the North Shore Arts Festival in 1963 and again in the Embroiderers’ Guild exhibition in 1967.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Dixon Audrey view full entry
Reference: Audrey Dixon
b. 1931 (England)
Arrived in Australia, 1968
Audrey Dixon trained and worked as a secondary school art teacher in England. In the early nineteen sixties she taught herself machine embroidery using books such as Enid Mason’s Ideas for Machine Embroidery. She moved to Perth in 1968, where she was a founding member of the Embroiderers’ Guild in Western Australia, and then to Sydney in 1972. She was employed as an art teacher at Abbotsleigh School and became involved with the Embroiderers’ Guild in Sydney, conducting a workshop for high school needlework teachers together with Heather Joynes and Nola Taylor. Her work was included in the Embroiderers’ Guild exhibition in 1972 and in July 1973 it was featured in an article in the Australia Home Journal. In 1975 she exhibited machine embroidered collages in a joint exhibition with a photographer in Turramurra.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Dorrough Heatherview full entry
Reference: Heather Dorrough (née Blake-Smith)
b. 1933 (Paddington, UK)
Arrived in Australia, 1960
Heather Dorrough studied for the National Diploma in Art and Design at Eastbourne College of Art in the United Kingdom and completed postgraduate studies in interior design at the Royal College of Art in London. She worked as an interior designer in London and New York before moving to Australia in 1960.
Heather Dorrough began to work in textiles in the mid-1960s, holding her first exhibition at the Darlinghurst Galleries in 1965. She became involved with the Craft Association of NSW, participating in its exhibitions on a regular basis and designing the interior of the Association’s office space, as well as some of its exhibitions. She taught interior design at the Mary White School of Design and at East Sydney Technical College, and textile workshops for the Embroiderers’ Guild and for the Craft Association. In the early 1980s she taught textiles at the Alexander Mackie College of Advanced Education (later the City Art Institute). For a short time Heather Dorrough was a member of the Embroiderers’ Guild and the Creative Embroidery Association, but she was more involved in the craft community than the embroidery community. Her second solo exhibition was held in 1976 at the Bonython Gallery. By the late 1970s she had established a successful career as a textile artist, with exhibitions at the Robin Gibson Gallery in 1979 and the Crafts Council Gallery in Sydney in 1982 and several high profile public commissions. Heather Dorrough’s work is held in public
248
and private collections in Australia, including the National Gallery of Australia and the Powerhouse Museum.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Blake-Smith) Heatherview full entry
Reference: Heather Dorrough (née Blake-Smith)
b. 1933 (Paddington, UK)
Arrived in Australia, 1960
Heather Dorrough studied for the National Diploma in Art and Design at Eastbourne College of Art in the United Kingdom and completed postgraduate studies in interior design at the Royal College of Art in London. She worked as an interior designer in London and New York before moving to Australia in 1960.
Heather Dorrough began to work in textiles in the mid-1960s, holding her first exhibition at the Darlinghurst Galleries in 1965. She became involved with the Craft Association of NSW, participating in its exhibitions on a regular basis and designing the interior of the Association’s office space, as well as some of its exhibitions. She taught interior design at the Mary White School of Design and at East Sydney Technical College, and textile workshops for the Embroiderers’ Guild and for the Craft Association. In the early 1980s she taught textiles at the Alexander Mackie College of Advanced Education (later the City Art Institute). For a short time Heather Dorrough was a member of the Embroiderers’ Guild and the Creative Embroidery Association, but she was more involved in the craft community than the embroidery community. Her second solo exhibition was held in 1976 at the Bonython Gallery. By the late 1970s she had established a successful career as a textile artist, with exhibitions at the Robin Gibson Gallery in 1979 and the Crafts Council Gallery in Sydney in 1982 and several high profile public commissions. Heather Dorrough’s work is held in public
248
and private collections in Australia, including the National Gallery of Australia and the Powerhouse Museum.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Fitzpatrick Dawnview full entry
Reference: Dawn Fitzpatrick (née Baillieu)
b. 1922
Dawn Fitzpatrick trained at the South Australia School of Art, working in painting and drawing until early nineteen seventies when she began working in appliqué. In 1975 she held an exhibition of large scale figurative panels, produced in collaboration with Lee McGorman, at the West Street Gallery in North Sydney. Subsequent exhibitions were held at Ace’s Art Shop and at the Hogarth Galleries in Sydney. She was also commissioned to produce a large hanging for the NSW State Parliament House.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Gandevia Dorothyview full entry
Reference: Dorothy Gandevia
1921 (USA) – 1994
Dorothy Gandevia was trained as, and practised as, a medical doctor. Her education in embroidery was mostly informal; she attended workshops at the Embroiderers’ Guild and summer schools at the University of New England. She was one of the embroiderers who worked with Dorothea Allnutt on The Curtain of the Saints in the early nineteen seventies. Her primary interest was in metal thread embroidery. In 1973 one of her metal thread embroideries was selected for inclusion in exhibition which was organised by the Embroiderers’ Guild in England and held at the Commonwealth Gallery in London. Dorothy Gandevia was a founding member of the Creative Embroidery Association, helping to write its constitution, serving on its committee, and participating in its exhibitions. In 1974 Dorothy Gandevia was awarded an Australia Council Grant to travel to the United Kingdom where she attended a residential workshop with Barbara Dawson and took private lessons with Hannah Frew Paterson. She also spent a week in private study at the Embroiderers’ Guild in London. Shortly after her return from England she retired to the country and was less involved in the creative embroidery community from that time on.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Hadgkiss Vivienview full entry
Reference: Vivien Hadgkiss
d. 1985
Very little is known of Vivien Hadgkiss’ personal life. She was apparently born in the north of England but had ‘adjusted’ her age at some point so her acquaintances were not certain of the date, an act that makes further investigation of her life problematic. She moved to Australia some time in the nineteen fifties. It is thought that she may have attended art school in England and she studied embroidery at Chichester College in the United Kingdom in the
249
nineteen sixties. Vivien Hadgkiss exhibited embroideries at the Macquarie Galleries in Canberra and at the Frances Jones Studio in Sydney in 1969. As a result of the latter exhibition she became acquainted with several of the women involved in creative embroidery in Sydney, becoming close friends with Heather Joynes. She held two exhibitions at the Helen West Gallery in Young: one, in 1970, was a solo show; another in 1973 also included work by Marjorie Hadley and Marion Herbert. An exhibition of work by her and her students was held at the Macquarie Galleries in Canberra in 1971. She was invited to join the Creative Embroidery Association shortly after it was formed and exhibited regularly with that organisation. She taught creative embroidery in Canberra and wrote an article on metal thread embroidery for Craft Australia in 1978.
From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Hadley Marjorie view full entry
Reference: Marjorie Hadley
Marjorie Hadley was another embroiderer based in Canberra, who became a member of the Creative Embroidery Association. Her work was exhibited at the Macquarie Galleries in Canberra in 1971, the Helen West Gallery in Young in 1973, and the Fantasia Gallery in Canberra in 1975.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Hanley Dianeview full entry
Reference: Diane Hanley
(Diane Dowe, Diane Groenewegen)
Diane Hanley trained at the National Art School between 1963 and 1965, before working as an art teacher at Abbotsleigh School. She was a member of the Embroiderers’ Guild from the late nineteen sixties until the mid nineteen seventies, coordinating an evening group, teaching workshops in contemporary work, and assisting with the hanging of exhibitions, although she appears not to have exhibited her own work in Embroiderers’ Guild exhibitions. Her first solo exhibition did not take place until 1991. In the mid-seventies she returned to Alexander Mackie College of Advanced Education to update her training and later in the nineteen seventies she became more involved with the Craft Association of New South Wales, by then known as the Craft Council of NSW.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Groenewegen Dianeview full entry
Reference: Diane Hanley
(Diane Dowe, Diane Groenewegen)
Diane Hanley trained at the National Art School between 1963 and 1965, before working as an art teacher at Abbotsleigh School. She was a member of the Embroiderers’ Guild from the late nineteen sixties until the mid nineteen seventies, coordinating an evening group, teaching workshops in contemporary work, and assisting with the hanging of exhibitions, although she appears not to have exhibited her own work in Embroiderers’ Guild exhibitions. Her first solo exhibition did not take place until 1991. In the mid-seventies she returned to Alexander Mackie College of Advanced Education to update her training and later in the nineteen seventies she became more involved with the Craft Association of New South Wales, by then known as the Craft Council of NSW.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Jeffcoat Robin view full entry
Reference: Robin Jeffcoat studied art at Wollongong Technical College and with John Oslen at the Bakehouse Gallery. In 1971 she was awarded the City and Guilds Certificate in Embroidery. She taught textiles at the Sydney Church of England Girls Grammar School in Wollongong. As well as working in embroidery, Robin Jeffcoat was a handspinner and weaver and her work often incorporated handspun and hand dyed yarns. She was a member of the Creative
250
Embroidery Association from 1973 and exhibited regularly with that organisation. Two of her works were included in the first Tamworth Fibre Exhibition in 1975.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Joynes Heatherview full entry
Reference: Heather Joynes
b. 1923
Australia from 1951
Heather Joynes became involved in creative embroidery in 1966. In 1970 she was awarded the City and Guilds Certificate in Embroidery. Heather Joynes was a tutor for the Embroiderers’ Guild of NSW and also taught at several University of New England summer schools in embroidery. She was the first member of the Embroiderers’ Guild of NSW to have work selected for a Craft Association of NSW exhibition and was the first Australian embroiderer to teach overseas, travelling to Canada in 1973 to teach classes on canvas work embroidery. As well as exhibiting with the Embroiderers’ Guild of NSW and the Craft Association of NSW, Heather Joynes participated in joint exhibitions with Pat Langford and Prue Socha and held a solo show of embroidered clothing at the Von Bertouch Galleries in Newcastle in 1976. She was a founding member of the Creative Embroidery Association, exhibiting regularly with the group. Together with her husband Jack she produced a film titled ‘The Creative Stitch’ and also produced a series of slide kits titled ‘Using Stitches’ for Educational Media Australia. Examples of her work are held in the collection of the Powerhouse Museum.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Keggin Margaret view full entry
Reference: Margaret Keggin
(Margaret Thomas)
Margaret Keggin was introduced to embroidery while completing teacher training at the Cheshire County Training College in England between 1954 and 1956. She later attended Brighton College of Art, studying embroidery and fabric printing. In 1960 she migrated to Australia to teach for the NSW Department of Education, travelling on the same ship as Pat Langford. She was employed at St George Girls High School in Kogarah. She exhibited and sold her work through Scandinavia House in Double Bay. Although she did not join the Embroiderers’ Guild of NSW she demonstrated machine embroidery for them in 1962. In 1963 Margaret Keggin returned to the United Kingdom where she continues to work as a textile artist and embroiderer.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Thomas Margaret view full entry
Reference: Margaret Keggin
(Margaret Thomas)
Margaret Keggin was introduced to embroidery while completing teacher training at the Cheshire County Training College in England between 1954 and 1956. She later attended Brighton College of Art, studying embroidery and fabric printing. In 1960 she migrated to Australia to teach for the NSW Department of Education, travelling on the same ship as Pat Langford. She was employed at St George Girls High School in Kogarah. She exhibited and sold her work through Scandinavia House in Double Bay. Although she did not join the Embroiderers’ Guild of NSW she demonstrated machine embroidery for them in 1962. In 1963 Margaret Keggin returned to the United Kingdom where she continues to work as a textile artist and embroiderer.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Langford Pat view full entry
Reference: Pat Langford
1927 (UK) – 2003 (Sydney, NSW)
Arrived in Australia, 1960
Pat Langford studied painting at the Plymouth Art School in England in the late nineteen forties, completing the City and Guilds Certificate Part 1 at that time. After studying embroidery with Constance Howard at Goldsmith’s College in the early nineteen fifties she completed the City and Guilds Certificate Part 2. In 1960 she migrated to Australia with her family and immediately became involved with the Embroiderers’ Guild of NSW. In 1961 she held a solo exhibition of embroideries at the Chatterton Gallery in Sydney. Shortly after, she began to teach art at Asquith Girls High School, later moving to Ravenswood School.
Pat Langford’s involvement with creative embroidery was extensive. She taught widely, both in Australia and overseas. From 1960 until 1967 she was the main teacher of modern embroidery for the Embroiderers’ Guild of NSW. Many of her workshops were attended by high school art and needlework teachers, ensuring that her influence was spread widely. She also wrote articles for the Needlework Bulletin, produced by the NSW Department of Education, and appeared on ABC television demonstrating design and embroidery. In 1964 Pat Langford and Margaret Oppen collaborated on small book on designing with paper cuts. Together with Cynthia Sparks and Heather Joynes she taught at the University of New England summer schools in embroidery from 1969 until 1979. In 1974 she developed a correspondence course in creative embroidery for the Embroiderers’ Guild of NSW and later was involved in the development of other educational programs for the Guild.
Pat Langford’s work was included regularly in Embroiderers’ Guild exhibitions from the time of her arrival in Australia until her death in 2003. She exhibited with the Craft Association of NSW and held several joint exhibitions with Prue Socha and Heather Joynes in the early nineteen seventies. She was a founding member of the Creative Embroidery Association and participated regularly in their exhibitions. She completed some embroideries to commission, including several panels for the Sydney Opera House Trust in 1961, and her work is held in the collections of the National Gallery of Australia and the Powerhouse Museum.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Oppen Margaret view full entry
Reference: Margaret Oppen (née Arnott)
1890 - 1975
Margaret Oppen studied art at the Julian Ashton Art School in Sydney, and at the Slade School of Fine Art and the Grosvenor School of Modern Art in London, working initially as a painter and wood engraver. She exhibited with the Younger Group of Australian Artists in 1925. During the 1930s, while living in Brighton, England, she attended classes at the
252
Brighton Art School. In the late 1940s Margaret Oppen taught colour and design with Ann Gillmore Rees at the Society of Arts and Crafts of NSW Craft Training School at Double Bay. In 1949 she held an exhibition of fabric printing and embroidery with Ethleen Palmer at the Grosvenor Galleries in Sydney. In the early nineteen fifties she lived in England, studying embroidery at the Royal School of Needlework. On her return to Sydney she established a studio in Turramurra, where she taught painting and embroidery. She was instrumental in the establishment of a branch of the Embroiderers’ Guild in Sydney in 1957, apparently travelling to London to obtain permission for this venture. In 1964 she collaborated with Pat Langford on a small book on the use of paper cuts for embroidery design. Throughout the nineteen sixties and early nineteen seventies Margaret Oppen was the driving force behind efforts to promote modern approaches to embroidery, organising exhibitions and establishing links with those involved in secondary and tertiary education in Australia. In 1973 she was awarded a British Empire Medal for services to the arts.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Arnott Margaret view full entry
Reference: Margaret Oppen (née Arnott)
1890 - 1975
Margaret Oppen studied art at the Julian Ashton Art School in Sydney, and at the Slade School of Fine Art and the Grosvenor School of Modern Art in London, working initially as a painter and wood engraver. She exhibited with the Younger Group of Australian Artists in 1925. During the 1930s, while living in Brighton, England, she attended classes at the
252
Brighton Art School. In the late 1940s Margaret Oppen taught colour and design with Ann Gillmore Rees at the Society of Arts and Crafts of NSW Craft Training School at Double Bay. In 1949 she held an exhibition of fabric printing and embroidery with Ethleen Palmer at the Grosvenor Galleries in Sydney. In the early nineteen fifties she lived in England, studying embroidery at the Royal School of Needlework. On her return to Sydney she established a studio in Turramurra, where she taught painting and embroidery. She was instrumental in the establishment of a branch of the Embroiderers’ Guild in Sydney in 1957, apparently travelling to London to obtain permission for this venture. In 1964 she collaborated with Pat Langford on a small book on the use of paper cuts for embroidery design. Throughout the nineteen sixties and early nineteen seventies Margaret Oppen was the driving force behind efforts to promote modern approaches to embroidery, organising exhibitions and establishing links with those involved in secondary and tertiary education in Australia. In 1973 she was awarded a British Empire Medal for services to the arts.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Orr Sybil view full entry
Reference: Sybil Orr
b. 1944
Sybil Orr was trained as a teacher at Armidale Teachers College but was mainly self taught as a textile artist. Although based in Tamworth, in early 1974 her work came to the attention of the Creative Embroidery Association and she was asked to become a member. In 1976 she won the Acquisitive Prize at the Tamworth Fibre Exhibition for an embroidered abstract landscape.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Pengilley Vivienneview full entry
Reference: Vivienne Pengilley
1944 (UK) -
Arrived in Australia, 1970
Vivienne Pengilley trained at the Sutton School of Art in the United Kingdom and originally worked as a painter. She began using textiles when her children were small, producing large scale appliquéd wall hangings featuring images from popular culture. After migrating to Australia in 1970 she became involved with the Yellow House in Sydney. She held her first exhibition at Gallery A in Sydney in 1972 and continued to exhibit regularly until the mid- 1980s when she stopped working in textiles and returned to painting. Several of her works are held in the collection of the National Gallery of Australia.
From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Woodrow Caroline view full entry
Reference: Caroline Woodrow (Caroline Wheeler)
Arrived Australia, 1968
Caroline Woodrow studied embroidery and printed textiles at Hull Art College and Nottingham College of Art in England. She was a member of the 62 Group in England before travelling to New Zealand and then to Australia. She worked as a high school art teacher for the NSW Department of Education in the late nineteen sixties but by December 1970 was employed by the Bernina sewing machine company as a demonstrator, having previously worked for them in England and New Zealand. In 1971 she was sent by Bernina to the University of New England summer school in embroidery to provide technical assistance, the company having supplied machines for students to use. Caroline Woodrow’s contribution to the development of machine embroidery in Australia has not been fully recognised, but it is evident that the interest in machine embroidery as a technique in its own right or as an adjunct to other techniques increased significantly after she became involved in these summer schools.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Sparks Cynthiaview full entry
Reference: Cynthia Sparks
b. 1920
In Australia, 1967 – 1970; migrated to Australia permanently in 1974.
Cynthia Sparks was trained as a scientist and worked as a science teacher in England. She became interested in embroidery in the early nineteen sixties and attended workshops with various well-known English embroiderers. After arriving in Sydney in 1967 she became acquainted with Margaret Oppen and began to offer classes in contemporary embroidery for the Embroiderers’ Guild of NSW. Between 1967 and 1970, she taught extensively in Sydney and in regional areas both for the Embroiderers’ Guild and the Craft Association of NSW. Along with Pat Langford and Heather Joynes, she taught embroidery at the University of New England summer schools in embroidery from 1969 until 1979. Cynthia Sparks wrote extensively on contemporary embroidery for The Record, organised for exhibitions of Australian embroidery to be sent overseas, and carried out administrative work for the Craft Association of NSW. She participated regularly in Embroiderers’ Guild exhibitions, but not in Craft Association exhibitions.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Stevenson June Scott view full entry
Reference: June Scott Stevenson
(Mary Wilson Angus, Mary June Angus)
1893 Edinburgh – 1968 (Sydney, NSW)
Arrived in Australia, 1925
June Scott Stevenson trained at the Edinburgh School of Art prior to the First World War. She moved to Australia with her family in 1925 and appears to have been involved in embroidery in New South Wales from that time on. She is reported to have taught embroidery to numerous artists and designers, including Margaret Oppen, Marion Hall Best and Prue Socha. She was involved with the Women’s Industrial Arts Society and wrote articles on embroidery for Woman. Her small book on embroidery stitches was published by Ure Smith. She was involved in the Embroiderers’ Guild of NSW from its inception, but does not appear to have participated regularly in their exhibitions.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Taylor Nola view full entry
Reference: Nola Taylor
Nola Taylor studied commercial art in Brisbane and became involved in embroidery in 1969, joining the Embroiderers’ Guild in Queensland. After moving to Sydney she attended classes with various Embroiderers’ Guild tutors, including Pat Langford and Heather Joynes. She first exhibited with the Embroiderers’ Guild in 1972 and was awarded an instructor’s certificate in 1974. Nola Taylor was a foundation member of the Paddington Crafts Co- operative. She held a solo exhibition at the Burton Street Gallery in 1974 but does not appear to have participated in Craft Association of NSW exhibitions at this time. Later in the nineteen seventies exhibited with and worked as a tutor for the Crafts Council of NSW and during the nineteen eighties she worked as a community artist in western Sydney.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Thorvaldson Winview full entry
Reference: Win Thorvaldson
1905 (United Kingdom) - ?
Arrived in Australia, 1932.
There is little available information about Win Thorvaldson, who appears to have practised several crafts. She was a member of the Arts and Crafts Society of NSW, exhibiting woven textiles with them in 1950. She exhibited with the Craft Association of NSW in 1967, 1969 and 1970; in 1969 her exhibits were her woven hangings. She was a member of the Embroiderers’ Guild in the early nineteen sixties, acting as chairman in 1960. She was heavily involved in organising the Dr Barnardo’s exhibition in 1961 and exhibited at the North Shore Arts Festival in 1963. She collaborated with Dorothea Allnutt on several
255
ecclesiastical projects and was represented in the Art Gallery of NSW ‘Craft 70’s’ (sic) exhibition by a piece of ecclesiastical embroidery.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Vere Jeanview full entry
Reference: Jean Vere
It isn’t clear exactly when Jean Vere became involved in creative embroidery. Her work appears to have been first included in an Embroiderers’ Guild of NSW exhibition in 1967, the same year that she became the chairman of the organisation. Jean Vere’s period as chairman of the Embroiderers’ Guild occurred at the time when the organisation was most involved in organising large scale exhibitions. Although reportedly modest about her own output, she was an active embroiderer who produced some significant original works. Her embroidery was included in Craft Association of NSW exhibitions in 1971 and again in 1973, and was shown in the first Tamworth Fibre Exhibition in 1975. She was a member of the Creative Embroidery Association and participated regularly in its early exhibitions.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Wheeler Caroline view full entry
Reference: Caroline Woodrow (Caroline Wheeler)
Arrived Australia, 1968
Caroline Woodrow studied embroidery and printed textiles at Hull Art College and Nottingham College of Art in England. She was a member of the 62 Group in England before travelling to New Zealand and then to Australia. She worked as a high school art teacher for the NSW Department of Education in the late nineteen sixties but by December 1970 was employed by the Bernina sewing machine company as a demonstrator, having previously worked for them in England and New Zealand. In 1971 she was sent by Bernina to the University of New England summer school in embroidery to provide technical assistance, the company having supplied machines for students to use. Caroline Woodrow’s contribution to the development of machine embroidery in Australia has not been fully recognised, but it is evident that the interest in machine embroidery as a technique in its own right or as an adjunct to other techniques increased significantly after she became involved in these summer schools.

From Creative Embroidery in New South Wales, 1960 – 1975. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Susan G Wood MA (CSturt), School of Architecture and Design Design and Social Context Portfolio RMIT University, May 2006. Appendix B: Brief biographies of significant embroiderers
A note on selection of embroiderers:
The embroiderers listed in this appendix represent only a small number of those involved in creative embroidery between 1960 and 1975. In most cases, those included were involved in selected exhibitions or exhibitions in commercial galleries, this being an accepted measure of serious commitment to their chosen craft. In a few cases, individuals have been included because they made a significant contribution to the development of creative embroidery in some other way.
Polo Tomview full entry
Reference: see Look Magazine, choice of favourite works in the AGNSW
Publishing details: Art Gallery Society of New South Wales, March-April, 2019
Whiteley Brettview full entry
Reference: see Look Magazine, article by Hannah Hutchison re ‘Brett Whiteley: Drawing is Everything’ exhibition
Publishing details: Art Gallery Society of New South Wales, March-April, 2019
Haider Rubabaview full entry
Reference: see Look Magazine, article by Gabriella Coslovich
Publishing details: Art Gallery Society of New South Wales, March-April, 2019
Balcombe Thomas Tyrwhitt 1810-1861view full entry
Reference: see Menzies auction, March 28, 2019, lots Lots 56 – 68, The Thomas Tyrwhitt Balcombe (1810-1861) Family Collection, Sydney
LOT 56
THOMAS BALCOMBE
Self Portrait c1855

watercolour on paper
16.0 x 11.0 cm (oval)


Provenance:
Thomas Tyrwhitt Balcombe, New South Wales
Thence by descent through,
His wife Lydia Stuckey, Sydney, 1861
William Alexander Balcombe, Sydney
Vera Gaden (née Balcombe), Sydney
Gwyneth (Sue) Keeling (née Gaden), Sydney
Ms Diana Bradhurst (née Keeling), Sydney
Estimate A$6,000 - A$9,000


Related Essay
56. THOMAS BALCOME
lot 56 Self Portrait. And following lots)
Thomas Tyrwhitt Balcombe (1810-61) was a well-known colonial identity, field surveyor and professional artist. The recipient of numerous awards and medals, Balcombe was also regarded as a man of sensitivity and wide-ranging interests. As one friend and colleague aptly put it, Balcombe was an ‘artist of considerable repute’ … [and] ... ‘a gentleman in the most refined sense of the word.’1
Up until the 2010s a mere handful of Thomas Balcombe’s work had been presented in public. Known examples were either tightly held or eagerly snapped up by national repositories, notably the National Library of Australia and the State Library of New South Wales. The reputation of Balcombe has been greatly enhanced by the growing revival of interest in and reassessment of the importance of Australian colonial artists.
The works in the current auction comprise of intimate portraits of family and friends, topographical landscapes, engaging portrayals of Aboriginal people and life, popular pastimes and scenes on the New South Wales goldfields. The cache represents the largest body of his work to come into public view and builds upon Menzies’ highly successful presentation and sale of seven works by Balcombe in December 2015. Collectively, these 100 finely rendered pen and ink, pencil and wash drawings and watercolours represent a rare and substantial offering by an accomplished Australian colonial artist and provide new perspectives on important aspects of mid-nineteenth century Australian art and life.
Portraits of family and friends
Thomas Balcombe’s early career developed under explorer Thomas Mitchell and the New South Wales Surveyor-General’s Department. He grew into the role and it equipped him for a professional life as an artist. Introduced to a wide range of people and places, both in Sydney and regional New South Wales, Balcombe quickly developed the skills to convincingly depict a variety of subjects including landscapes, people, rural scenes, stock and native animals.
Thomas Balcombe’s portraits and informal figure studies can be considered in this mould. Of these, lot 56 is a stand out. Based on contemporary photographs and family knowledge, it can be confidently ascribed as a self-portrait and dated in the mid-1850s. The artist is shown in his prime, with an upright posture, fine facial features, a sweeping quiff of hair and a signature mutton chop beard.
The sensitivity in which the self-portrait has been rendered parallels that of other family portraits, including those of his wife Lydia Stuckey and their beloved eldest daughter, Jane, who sadly died aged 18. Seated Lady (xiv) and Anatomical Studies (xv), both undated pencil drawings which feature in Balcombe’s extraordinary sketchbook (lot 65), show an uncanny resemblance to mother and daughter. The characteristic bob hairstyle is featured in an oil painting of Lydia on a horse from the same era. There is also a selection of tender portrayals of children and a baby captured asleep, in its most innocent state.
Alongside these familial sketches are numerous intriguing portraits of colonial identities, both men and women. Some of these can be identified, others, tantalisingly, await further research. A test etching of the well-known Sydney identity, Dr Thomas Revel Johnson, lies in the former category. Johnson (1817-1863) was a surgeon and journalist who published The Satirist and Sporting Chronicle (1843), Bell’s Life in Sydney and Sporting Reviewer (1845) and the Sunday Times (1849). Johnson and Balcombe were of similar age and shared common interests, notably horseracing and hunting.
Landscapes, hunting and animals
Balcombe was singled out for his portraits and figure paintings, but he was equally adept at landscape and genre pictures of dogs, horses and kangaroo hunting. The Art Award, 25th July 1850 (lot 67), was awarded to Thomas Balcombe for the best landscape in oil, Grocotts Art Union for that year. The award of the medal, and others like it, confirmed his status as one of the colonies’ pre-eminent landscape artists and followed his public recognition as ‘a spirited painter of animals’.2
Coursing Kangaroos (lot 65, lx), Sketch of man, horse, dog and kangaroo in water bank (lot 63) and Death of a Kangaroo 1853 (lot 65, lix), depict a sequence of events that lead from the sighting, chase and eventual running down and death of a kangaroo. Kangaroo coursing, as it was called, was a popular pastime and clubs were formed by gentlemen for the purpose. The speed, agility and canniness of kangaroos trying to shake off the hunt were cause for admiration and stories were rife concerning how exhausted kangaroos would lure attacking dogs into pools of water and drown them.
Balcombe seems to have taken a special interest in horse portraiture with at least three known oil paintings attributed to him in the Mitchell Library collections. Horse and Rider (lot 65, lxiii) and Equine Study (lot 65, lxiv), both undated, reveal one horse that is domesticated and belongs to the racetrack while the other is untamed and free. In the latter, the horse rears and twists its elongated neck and fulsome body accentuating the sense of a highly spirited and noble character.
Goldrush and ‘Slasher’
Thomas Balcombe’s prints, drawings and paintings of the pioneering men and women of the New South Wales goldfields are also important narratives. Collectively, these works register proto-nationalist overtones and a changing ethos of early colonial life. Mr E.H. Hargraves, the gold discoverer of Australia, Feb 12th 1851, returning the salute of the gold miners [5th] of the ensuing May was a painting (as well as a drawing and commercially sold lithograph) that Balcombe produced within six months of gold having been discovered and proclaimed. This was a momentous time for New South Wales and Balcombe was well-placed to capitalise on the huge insurgence of locals and foreigners at places such as Bathurst and the Turon River.
Slasher Arriving, Digging for, and Finding Gold (lot 59) is a rare surviving illustrated story that formed the basis of Gold Pen and Pencil Sketches. This book was produced by G. F. Pickering and Thomas, published in 1851. Australia’s most eminent art historian, Bernard Smith, perceptively noted in 1945 that the book’s dedication showed a national consciousness steadily growing in Australia.3
Balcombe’s goldrush narratives celebrate mateship, the dignity of labour, good humour and economic growth. These values are hallmarks of the paintings and related works including the double-sided sketch of Man Panning for Gold, Study of Man Panning for Gold (lot 65, vii) and Study of Three Men in a Mine (lot 61). Just as in the 1851 painting of Mr E H Hargreaves – in which the central protagonist returns from the diggings, walking humbly in unison alongside his trusted ride – in the drawings, the benefits of hard work and camaraderie between a diversity of people is celebrated and championed.
Aboriginal people and life
Balcombe’s sketchbook folio also contains important depictions of Aboriginal men and women and the changes brought about through white settlement. This includes accomplished standalone works such as Gundaroo Natives 1853 (lot 57), as well as the many preparatory sketches for oil paintings held in major private and public collections.
Gundaroo Natives 1853, is one of the few works by Balcombe to be titled, signed and dated. These inscriptions give important clues to the subject of the work. From the settlement of the Yass Valley in the 1820s and establishment of the township of Gundaroo, about 16 kilometres north of Sutton, the local Aboriginals found themselves increasingly marginalised. Numbers of people declined dramatically due to introduced diseases, alcohol and resource depletion and this pattern only increased with the discovery of gold in the region in 1852. Balcombe registers the dramatic changes that had taken place and the ‘choices’ they faced. There is a marked contrast between a despondent looking family group sitting passively under a humpy, dressed in blanket hand-outs, with tribal men who continue to hunt and make use of natural resources, such as a figure extracting sheets of bark from a eucalypt tree.
Balcombe’s empathetic portraits of Aboriginal people continues in the intriguing, though undated, Portrait Study of a Male (lot 64) and Study for Aborigine Fishing by Torchlight c1853 (lot 58). Both drawings are studies for major oil paintings. The latter represents the stoic central figure modelled on classical Western poses depicted in two related oil paintings Aborigines Fishing by Torchlight and Untitled (Aboriginal Fishing) c1853. Portrait Study of a Male in turn depicts the proud and handsome face of an initiated warrior, seen in Aboriginal hunting c1850.
Based on the sketches, we can now confirm the authorship of these and other paintings as irrefutably in Balcombe’s hand, including the accomplished painting previously mentioned in the Mitchell Library collection, as well as his evocative image of an Aboriginal Man Spear Fishing in a Pool from the National Library of Australia. Conversely, the last known works by Balcombe, dated 1857, also help to date the corresponding sketches such as Study for Aborigines, Landscape and Figure Study and Study of Male Torso (lot 65, i, ii & iv).
Passed down over five generations, through the eldest daughters, these works can now be deservedly enjoyed by many. The emergence of these pieces contribute greatly to our knowledge of the man and constitute a formidable and enduring artistic legacy.
Footnotes
1. Bell’s Life in Sydney and Sporting Chronicle, 19 October 1961, p.3
2. Laverty, C., ‘Thomas Tyrwhitt Balcombe’, in Joan Kerr, The Dictionary of Australian artists: Painters, Sketchers, Photographers and Engravers to 1870, Oxford University Press, 1992, p.41
3. Smith, B., Place, Taste and Tradition: A Study of Australian Art since 1788, Oxford University Press, Melbourne, 1945, p.76
 
Rodney James BA (Hons.); MA
Fabian Erwinview full entry
Reference: see Artspace fundraising auction, ‘THIS AUCTION BENEFITS ARTSPACE AND FIRSTDRAFT, SYDNEY.’, March 13, 2019, lot 59: THIS AUCTION BENEFITS ARTSPACE AND FIRSTDRAFT, SYDNEY. Modern and contemporary art from the late Michael Hobbs' collection to support Sydney based, not-for-profit galleries Artspace and Firstdraft. ABOUT JON LEWIS
Multi-faceted photographer and educator, Jon Lewis (b.1950, Maryland, USA) has produced many Australia’s most iconic images. He was a member of Sydney’s “Yellow House” in the early 1970’s, went on to make experimental video with “Bush Video,” and in 1977 was a founder of Greenpeace Australia, which led a successful campaign to end the slaughter of whales in that country.  Jon has twice been a finalist in the Head On, Olive Cotton and Duo Percival awards and was finalist in the 2015 Bowness Award. Jon Lewis’ works were included in The Photograph and Australia exhibition at the Art Gallery of New South Wales in the same year.
Lewis Jonview full entry
Reference: see Artspace fundraising auction, ‘THIS AUCTION BENEFITS ARTSPACE AND FIRSTDRAFT, SYDNEY
Modern and contemporary art from the late Michael Hobbs' collection to support Sydney based, not-for-profit galleries Artspace and Firstdraft.’, March 13, 2019, lot 59: THIS AUCTION BENEFITS ARTSPACE AND FIRSTDRAFT, SYDNEY
Modern and contemporary art from the late Michael Hobbs' collection to support Sydney based, not-for-profit galleries Artspace and Firstdraft.
‘Erwin Fabian (b. 1915, Berlin, Germany), one of the most significant living abstract sculptors in Australia, trained at the School of Art and Craft in Berlin before being interned in London during the Second World War. He was then deported to Australia in 1940. In 1950 he returned to London where he worked as a lecturer at the London School of printing and a graphic designer before moving back to Melbourne in 1962. Later in 1965, Fabian held his first solo exhibition at the Hungry Horse Gallery, Sydney. In 2000, a large retrospective of his work was held at the Stadtmuseum in Berlin; and he continued to exhibit termly in Melbourne and Sydney. Fabian’s work has been exhibited in group shows including 1981’s Australian Sculpture Triennial and The Europeans at the National Gallery of Australia, Canberra in 1997.’
Jubelin Narelleview full entry
Reference: Narelle Jubelin (b. 1960, Sydney) is a major Australian fabric and installation artist living and working in Madrid since 1996. This particular path has led her to establish a strong relation with Spain while addressing issues related to Australian history and culture. She is best known for her petit-point renditions of heavily charged photographs that allow her to explore historical lines that interconnect location and history. She has exhibited widely in the last twenty years, from Aperto in the 1990 Venice Biennale, the Hayward Gallery, London in 1992, Museo Reina Sofia, Madrid, the Renaissance Society, Chicago in 1994, and the 2009 Sharjah Biennial, United Arab Emirates. She's had solo shows at the Art Gallery of New South Wales, Sydney, 2009; Heide Museum, Melbourne, 2009; Casa Encendida, Madrid, 2012 and Gulbenkian Foundation, Lisbon, 2014. Between 1985 and 1987, Jubelin was co-founder (with Roger Crawford, Tess Horwitz and Paul Saint) of Firstdraft Gallery, Sydney. She is represented by The Commercial, Sydney.

see Artspace fundraising auction, ‘THIS AUCTION BENEFITS ARTSPACE AND FIRSTDRAFT, SYDNEY. Modern and contemporary art from the late Michael Hobbs' collection to support Sydney based, not-for-profit galleries Artspace and Firstdraft.’, March 13, 2019, Online auction on website Paddle8.
Denysenko Leonidview full entry
Reference: From Casula Powerhouse Gallery website: Leonid Denysenko is a Ukrainian Australian artist living in Sydney, Australia. He is notable for the introduction of the graphic art technique of "literography".[1] He is the only surviving founding member of the Ukrainian Artists Society of Australia.

Biography and career
Born in Warsaw in 1926 of Ukrainian émigré parents, Leonid studied art in Poland. After World War II he worked as an artist with the United States armed forces in Germany.
After arriving in Australia in 1949 with his family, he was sent to a migrant reception and training camp at Bathurst, NSW. As part of the 'assisted passage' Leonid and his brother, Yurij were under a contract to the Australian Government to work where the Government sent them, and the two young men learnt they were to be sent to Queensland as sugar cane cutters.[2] As related by Leonid himself in a 2-page article in the Australian Women's Weekly:
"I was distraught. I didn't want to be split up from my parents. Luckily the camp held an arts and crafts exhibition soon after we arrived and I exhibited some of the sketches I had made in Germany and in Italy on my way here.
"Then I sketched cartoons of the hierarchy of the camp and of the then General (later Field-Marshal) Sir Thomas Blamey who opened the exhibition. He was very pleased with the drawing and I was bold enough to say I didn't want to be a cane cutter. His reply was that my hands were too good. So I became staff records officer of the camp, which gave me plenty of time to sketch. "[2]
In time, the Denysenkos left the camp and Leonid with his mother and brother Yurij, helped stage a number of Ukrainian arts and craft shows in Australia.[3] By 1950 Leonid Denysenko was already being featured in Australian media as a "migrant artist from Ukraine",[4] and "a young Ukrainian whose pen-and- ink work is much above the ordinary".[5]
Leonid completed the necessary examinations which allowed him to teach art in secondary and high schools and his varied career saw him work as a stage and set designer for the theatre and films, a cartoonist and illustrator of books and periodicals, a stamp designer, a leading dancer in a ballet company, an art teacher and principal and a freelance journalist.[6][7][8]
He holds a Degree in Graphic Art, a Certificate in Education and a Diploma in Fine Arts.

Emanuel Cedricview full entry
Reference: Sydney yesterday & today [by] Cedric Emanuel.
Publishing details: Sydney : Angus & Robertson, 1978, 88p : all ill. Edition limited to 1000 copies, signed and numbered. Slip-cover.
Ref: 1000
Maritime Maverickview full entry
Reference: Maritime Maverick - The Collection of William I Koch. By Alan Granby (Editor), Janice H. [’As a sailor and a collector, William I. Koch has always been a maverick. An outsider and Johnny-come-lately to the world of yacht racing, he won the 1992 America's Cup through scientific innovation, precision team-building, and a damn-the-odds attitude: the crew of his America quite simply out-built, outwitted, and out-sailed Italy's II Moro. A highly personal collector, he has brought together a collection of maritime masterworks that speak profoundly of his love of the sea and all its traditions: it is a unique and historically significant treasure trove of art, artifacts, and specially commissioned ship models. Bill Koch the sailor, the connoisseur, and the enthusiast are manifest on every page of Maritime Maverick, a beautifully produced book that is part profile, part catalogue raisonné, but, above all else, a celebration of America's life at sea.

Mr. Koch's collection includes maritime subjects by artists such as Homer, Remington, Monet, Dufy, and Botero. It also includes a magnificent collection of canvases depicting important naval battles of the War of 1812, especially incidents involving USS Chesapeake (whose captain was Koch's ancestor James Lawrence, author of the immortal cry "Don't Give Up the Ship!"). Mr. Koch's collection of models of America's Cup vessels -- from the inception of the race in 1851 to the present day -- is complete, containing not only every yacht that won the Cup but also every one that competed for it. In addition, he has acquired an unprecedented collection of shipboard furniture, navigational instruments, and other memorabilia -- materials that are seldom seen or documented and that provide an unrivaled window on centuries of life below decks.

The William I. Koch collection, formed by the experience of an expert yachtsman and the eye of a discriminating collector, is the mirror of a man who approaches maritime art and history with reverence and passion. It is personal, eclectic, and provocative. This sumptuous book will provide weeks of pleasure to any serious art lover, antiques collector, or blue-blooded sailor.’]
Publishing details: David R. Godine, 206, hc, dw, 244pp with index.
Gilfillan Alexander 1793-1864view full entry
Reference: see Maritime Maverick - The Collection of William I Koch. By Alan Granby (Editor), Janice H. Gilfillan’s ‘Shipboard Celebration before Departure’ is illustrated on the cover and on page 53. The subject is described in the text but there are no biographical details on the artist. [’As a sailor and a collector, William I. Koch has always been a maverick. An outsider and Johnny-come-lately to the world of yacht racing, he won the 1992 America's Cup through scientific innovation, precision team-building, and a damn-the-odds attitude: the crew of his America quite simply out-built, outwitted, and out-sailed Italy's II Moro. A highly personal collector, he has brought together a collection of maritime masterworks that speak profoundly of his love of the sea and all its traditions: it is a unique and historically significant treasure trove of art, artifacts, and specially commissioned ship models. Bill Koch the sailor, the connoisseur, and the enthusiast are manifest on every page of Maritime Maverick, a beautifully produced book that is part profile, part catalogue raisonné, but, above all else, a celebration of America's life at sea.

Mr. Koch's collection includes maritime subjects by artists such as Homer, Remington, Monet, Dufy, and Botero. It also includes a magnificent collection of canvases depicting important naval battles of the War of 1812, especially incidents involving USS Chesapeake (whose captain was Koch's ancestor James Lawrence, author of the immortal cry "Don't Give Up the Ship!"). Mr. Koch's collection of models of America's Cup vessels -- from the inception of the race in 1851 to the present day -- is complete, containing not only every yacht that won the Cup but also every one that competed for it. In addition, he has acquired an unprecedented collection of shipboard furniture, navigational instruments, and other memorabilia -- materials that are seldom seen or documented and that provide an unrivaled window on centuries of life below decks.

The William I. Koch collection, formed by the experience of an expert yachtsman and the eye of a discriminating collector, is the mirror of a man who approaches maritime art and history with reverence and passion. It is personal, eclectic, and provocative. This sumptuous book will provide weeks of pleasure to any serious art lover, antiques collector, or blue-blooded sailor.’]
Publishing details: David R. Godine, 206, hc, dw, 244pp with index.
Roberts Hera 1892 – 1969view full entry
Reference: From National Portrait Gallery website: Hera Roberts
1892 – 1969
Hera Roberts (1892-1969) was a painter, illustrator, designer, commercial artist and milliner. During the 1920s and 30s she produced many covers for the Home magazine, and arranged photo spreads for the magazine promoting fashionable interiors and furniture. She designed a complete room for the Burdekin House exhibition of 1929, including furniture, and also designed furniture for her companion Sydney Ure Smith. Roberts was regarded as an authoritative commentator on matters of style. She was the student and cousin of the artist Thea Proctor, who was also part of the network of 'lady artists' who were able to make their careers in interior decorating and taste arbitration. Co-owner of a millinery shop in Pitt street called 'June', Roberts was also one of the finest female fencers in the Southern Hemisphere, operating out of the Sydney Swords Club.
Roberts Hera 1892 – 1969view full entry
Reference: From DAAO:
Hera Roberts b. 1892
Also known as Hera Christian Glen, Hera Christian Roberts
Artist (Painter), Artist (Cartoonist / Illustrator)
A flamboyantly stylish and well known designer working in the bold modernist style of the 1920s and 1930s. Very much part of the Sydney social scene, Roberts enjoyed a considerable amount of fame and artistic authority.
Painter, illustrator, designer and commercial artist, was born in Dubbo in 1892, daughter of Robert I.A. and Nina I. Roberts. She is best known for her many Home magazine covers of the 1920s and ’30s: flat, stylised images rendered with bold colour combinations. As an aspect of commercial art, she also arranged photo-spreads for the magazine featuring the fashionable new Art-Deco objects on sale in Sydney. Her cover for Home 's 'Interior Decoration Number’ of 1930 signalled other interests. It was self-consciously modernist, illustrating circular blonde-wood furnishings, a sheet-glass lamp base after French designer Djo-Bourgeois and a suitably modish woman. She designed a complete room, including chairs and cabinets, for the 1929 Burdekin House Exhibition. This room was later reproduced with full-scale furniture for an exhibition, “Sydney Moderns” held at the Art Gallery of NSW in July 2013.(Emma Glyde. Life in Colour, The Modern Vision of Hera Roberts. Look (AGNSW), May 2013, pps.16-18)
Similar pieces, often employing a ziggurat form with gloss painted finishes, were illustrated in the 1930s. Manar, the Macleay Street flat of her publisher and long-term companion Sydney Ure Smith , included designs by Roberts. She also designed at least one piece of furniture for the Stuart-Low Furniture Studio: a straight-sided writing desk in figured Queensland walnut with synthetic ivory pulls illustrated in Art and Australia (16 November 1936). After a trip to Europe in 1934 Roberts stated: 'In Sydney I think women would prefer to follow the English method in interior decoration rather than the Continental’.
Roberts was part of a large network of women involved with interior decoration. She was the student, and cousin, of Thea Proctor while another cousin, Mrs C. Dibbs (née Mary Proctor), conducted a country 'Shopping Club’ which offered to undertake any kind of buying 'from furnishing a house to buying a piece of cherry ribbon’. The rise of this vocation signalled dissatisfaction with the products and services of trade outlets and the new decorator would be consulted as much for her distinctive taste as for the supply of products. The profession was reviewed enthusiastically in the Australian press as a suitable and lucrative job for women. Its connection with the home ensured its respectability, and it was argued that women held a natural advantage in the domestic sphere. These women were clearly 'ladies’, spelled out in their glamorous appearances in the social Home and Society magazines, but they were also artists – a combination that considerably fuelled their credibility and appeal.
The December 1929 issue of Home carried a full-page advertisement for 'Kit Kat Powder – Society’s Choice’, comprising an elegant portrait of Roberts by the society photographer Harold Cazneaux and an accompanying 'interview’ with the subject:
.she has such an amazing flair for and love of colour in dress. Often she might have just stepped from a Leon Bakst canvas. So it is no wonder the incomparable Pavlova, when she first saw Miss Roberts, exclaimed, “Ah! You are artiste, yes?”
This stylishness is evident as early as 1919 when Roberts was photographed by Monte Luke theatrically posed in fencing costume at the Sydney Swords’ Club for Triad , which described her as 'one of the finest woman fencers in the Southern Hemisphere’. She also did designs for the theatre, including the costume designs for a production of Carlo Goldini’s Mine Hostess at the Turret Theatre, Milsons Point (originals in the Mitchell Library). Roberts designed 'hats and frocks’ for 'June’, a millinery shop in Pitt Street she owned in partnership with Pauline Watt ( see plate 240) and Jocelyn Gaden. In 1927 she was photographed by Cazneaux for Home in 'one of their vagabond felts’. As a modern interior decorator she enjoyed a significant profile and her comments on design were reported in the press as authoritative.
Roberts disappeared from the Sydney art scene after Ure Smith died in late 1949, so completely that Robert Holden believed she had died. In fact, she lived on for 20 years, marrying a solicitor, A.M. (Gus) Glen, in 1953. Hera Christian Glen died on 17 January 1969 (all reports say she committed suicide).
Writers:
McNeil, Peter
Kerr, Joan
Michael Bogle
Date written:
1995
Last updated:
2013
Glen Hera Christianview full entry
Reference: see Roberts Hera 1892 – 1969
Roberts Hera 1892 – 1969view full entry
Reference: see Australian National Maritime Museum website:
Miss Hera Roberts on board HNLMS Java, 10 October 1930
Samuel J Hood Studio ANMM Collection

This is one of my favourite photographs by Samuel J Hood. It is also one of the most beautiful portraits that I have seen from the museum’s collection. For quite some time though, the identity of the subject remained a mystery. Time and time and again I would go back to this photograph, zooming in and back out, trying to spot that elusive clue that would miraculously lead to a name; a name and then hopefully a story. So imagine my surprise when I came back from the holiday break and saw that someone had found exactly that. A name and a story…
Last week I wrote a post on Flickr Commons and the way that it has opened up our collections and resurrected the past. One of the ‘super sleuths’, as we call them, who goes by the name of quasymody, did their own bit of research and stumbled across the November 1930 edition of The Home quarterly magazine. Lo and behold, on page 52 were Hood’s photographs from the museum’s collection, depicting the Dutch Navy reception that took place on board HNLMS Java on 10 October 1930. Directly underneath the image above, was that all-important detail, a name. A breakthrough at last!
The search for ‘a story’ began. A 1929 advertisement for perfumed powder in The Sydney Morning Herald reads:
Not only has she uncommon beauty–cameo-cut features, delicate complexion, exquisitely shaped head, set proudly on a throat that must be the despair of any artist, so slenderly graceful is it–but she has such an amazing flair for and love of colour in dress. SMH, 13 Nov 1929

Hera Roberts 1936
Max Dupain OBE
Collection: National Portrait Gallery, Canberra
Gift of Rex Dupain 2003
Donated through the Australian Government’s Cultural Gifts Program
The lady with flair was Miss Hera Roberts, Sydney painter, designer, illustrator and socialite. Her appearance in The Home was no coincidence. Hera designed and illustrated over 50 of its covers and was considered an arbiter of taste when it came to interior decorating. As its subtitle suggested, The Home was Australia’s ‘Journal of Quality’, as it detailed all that was fashionable and à la mode in the world of art, design and fashion. The publication embodied the height of sophistication during an era that favoured the bold and modern exuberance of all that was Art Deco.
In addition to her reputation as a leading authority on aesthetics, she was the muse to many of Australia’s most talented artists and photographs. Max Dupain and Harold Cazneaux both captured beautiful portraits of her and Thea Proctor, her cousin and one of Australia’s most renowned female artists, paid homage to Hera in her work The rose (1927). George Lambert also painted a beautiful portrait of her in 1924. The work, held in the National Gallery of Victoria’s collection, depicts a youthful looking Hera in a pose strikingly similar to Hood’s photograph, hand on hip and neck craned revealing her slender figure. These portrayals echo the theme behind many of her Home journal covers; the modern woman should be elegantly poised in a nonchalant way, peering intelligently in the distance or directly at the viewer.

Portrait of Hera Roberts 1915
May Moore
National Library of Australia
PIC P653/42 LOC M4
In a testament to her authority and one of the central components of Art Deco sensibility, Hera was quoted as saying:
More than ever … is the search for personal beauty essential in the modern world where Beauty is demanded on every side – the underlying motif for comfort and harmony. Isn’t there an old Greek adage – ‘Beauty is the gift of Nature, but beautiful living is the gift of Wisdom’? SMH, 13 Nov 1929
Nicole Cama
Curatorial assistant
Watson James Douglasview full entry
Reference: see Australian Galleries catalogue May 1955 (Melbourne) - Francis Lymburner and James D Watson - 32 works by Watson
Publishing details: Australian Galleries 1955 (filed under Lymburner in Scheding Library.)
Ref: 46
Sargison Harold Francis (1885-1983)view full entry
Reference: see ADB entry:Harold Francis Sargison (1885-1983): by Janet Fenton
This article was published in Australian Dictionary of Biography, Volume 18, (MUP), 2012
Harold Francis Sargison (1885-1983), silversmith and clockmaker, was born on 10 October 1885 in Hobart, third of four children of Tasmanian-born parents Francis Augustus Sargison, an engineering pattern-maker, and his wife Ann Eleanor, née Evans. Harold attended Battery Point Model School and in 1902 was apprenticed for five years to a silversmith, Joseph William Quarmby. Excited to receive his first pay packet, Harold ran home and presented five shillings to his mother, an action indicative of the generosity of spirit that was to be a trait of his personality. He went into partnership with George Miller in a watchmaker and jeweller’s shop at 31 Murray Street, bought the business in 1919, and moved it in 1922 to 21 Elizabeth Street, where he developed a reputation as a fine craftsman. On 15 March 1924 at St David’s Cathedral he married with Church of England rites Doris Winsbury Ivey (d.1974), a clerk.
Exhibiting regularly in the 1920s with the Arts and Crafts Society of Tasmania, Sargison was influenced by its president, the architect and designer Alan Walker. In 1932 he made the elaborate gold monstrance, adorned with precious stones, designed by Walker for St Mary’s Cathedral, Hobart. Other significant works included a military trophy, now held by the Military Museum of Tasmania, Anglesea Barracks, a grandfather clock, shown at the 1931 arts and crafts exhibition in Hobart, the lord mayor of Hobart’s chain of office and the mace for the State parliament. He was well known for his jointless metal jugs, decorated with gum leaves and gumnuts. A member of the British Horological Institute, Sargison maintained the clocks at Government House in Hobart for four decades. In 1966 he moved his shop to premises in Liverpool Street.
Sargison was tall, lean and lantern-jawed; an early riser, he was a hard worker with apparently boundless energy and with the ability to improvise when necessary. He was a warm family man, who loved music. Affectionately known as ‘Sargie’, he had joined the Tasmanian Field Naturalists’ Club in 1914. On the committee from 1934 to 1958, he organised the club’s Easter camps for twenty years and became a life member in 1948. He was a member of the Royal Society of Tasmania and a board member of St Ann’s Homes. A long-serving member of the Rotary Club of Hobart, he was a Paul Harris fellow in 1980. He retired in his nineties, after supervising the making of a set of sterling silver serving spoons, commissioned in 1981 as a wedding gift from Tasmanians for Prince Charles and Lady Diana Spencer. Survived by his two daughters and a son, he died on 22 December 1983 in Hobart, and was cremated. His work is represented in public collections, including the National Gallery of Australia, Canberra, and the Powerhouse Museum, Sydney.
Select Bibliography
• C. Miley, Beautiful & Useful (1987)
• A. Schofield and K. Fahy, Australian Jewellery (1990)
• J. Fenton, A Century Afield (2004)
• Saturday Evening Mercury (Hobart), 19 Nov 1966, p 11, 23 Oct 1976, p 43, 10 Oct 1981, p 14
• Mercury (Hobart), 18 Apr 1983, p 4, 23 Dec 1983, p 2
• private information and personal knowledge.

Strange Frederickview full entry
Reference: The Enigmatic Mr Strange: Creating a Past: the life and art of Frederick Strange c. 1807-1873 by Y. Adkins,

.Queen Victoria Museum and Art Gallery exhibition: The Enigmatic Mr Strange

On display at the Queen Victoria Art Gallery at Royal Park, from 19 June to 12 November 2016.
Some of the earliest depictions of Launceston by a former convict, originally trained as a portrait and house painter in England, have been brought together at the Queen Victoria Art Gallery at Royal Park.
The exhibition contains a number of works not seen before. The exhibition features some of the most important images of Launceston and the environs from the early 1840s to the early 1860s.
These include public buildings, homesteads, churches, the Tamar River, Cataract Gorge and large views of the city. 

Artist Frederick Strange was transported from Nottingham, England to Van Diemen's Land after committing a series of burglaries in 1837. Strange was granted a leave pass for good behaviour and arrived in Launceston in 1841. He became recognised for his portraiture and landscapes, and remains known for his mysterious demeanour.
Guest Curator and Honorary Research Associate Yvonne Adkins says throughout his life of exile Frederick Strange left some of the most important early views of Launceston in oil and watercolour. Many would have been selected under the guidance of local citizens and those for whom he painted portraits.
Publishing details: QVMAG, 2017, 92 p
Burns Timview full entry
Reference: Water Music: Paintings by Tim Burns

Publishing details: QVMAG, 2017, 20p
Ref: 1000
Irvine-Nealie Janview full entry
Reference: Fragility and Endurance: Textiles by Jan Irvine-Nealie by King, G
Publishing details: QVMAG, 2001, 32pp
Ref: 1000
Greenwood Garry view full entry
Reference: Garry Greenwood: Selected works 1975-2000 by .King, G
Publishing details: QVMAG, 2000, 43 p
Ref: 1000
textilesview full entry
Reference: Origins and New Perspectives: Contemporary Australian textiles
King, G
Publishing details: QVMAG, 1998, 79 p.
Ref: 1000
Waterworth Ericview full entry
Reference: Eric Waterworth: An inventive Tasmanian

Publishing details: QVMAG, 1990, 20 p.
Ref: 1000
Peppin Mylie view full entry
Reference: Mylie Peppin: Ceramics 1935-1990
King, G
Publishing details: QVMAG, 1990, 47 p.
Ref: 1000
woodcarving in Tasmaniaview full entry
Reference: Woodcarving in Tasmania
Dimmack, K
Publishing details: QVMAG, 1988, 36 p.
Ref: 1000
printsview full entry
Reference: Australian Art in Prints
McIntyre, P
Publishing details: QVMAG, 1980, 88 p.
Ref: 1000
Koether Thomas view full entry
Reference: see Auctioneer: HELMUTH STONE GALLERY, 03 Mar 2019, Sarasota, Florida: lots 32 onwards: Thomas Koether (New York, Florida / Europe, Australia, B. 1940) Abstract Painting. Signed verso. Oil on Canvas. Canvas Size: 42 x 30 in. Overall Size: 43 x 31 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia 1971 LE CENTER AMERICAN, Paris, France

Heysen Hans and Noraview full entry
Reference: Hans and Nora Heysen: Two Generations of Australian Art. contributions by Angela Hesson ; Anne Gray ; Allan Campbell ; Catherine Speck[’Hans and Nora Heysen: Two Generations of Australian Art is the first major exhibition to bring together the work of Hans and Nora Heysen, father and daughter artists whose work spanned more than a century during which Australia and the world underwent numerous social, political and artistic transformations. In many ways, theirs is an archetypal twentieth-century Australian story of migration, family life, wartime separation and a deep connection to place.
Both artists travelled widely in Europe as part of their artistic education, and their work demonstrates not only a profound knowledge and appreciation of international influences, but also engagement with their Australian contemporaries. While Hans Heysen devoted his mature practice predominantly to the portrayal of Australian landscape, Nora Heysen became renowned as a portraitist and painter of still lifes. In 1938 she was the first female winner of the prestigious Archibald Prize for portraiture, and her success continued when she was appointed official war artist in 1943.
While Hans Heysen’s work has remained popular, critical interest in it has waned, and this exhibition seeks to reposition him as pioneer of Australian landscape painting and one of the most accomplished artists of his generation. Despite early critical success, Nora Heysen fell into obscurity from the 1950s; however, she continued to paint and draw until her death in 2003 at the age of ninety-two. Hans and Nora Heysen: Two Generations of Australian Art is the most complete exhibition of her works to date and demonstrates her profound, at times paradoxical, mingling of sensitivity and strength.
Hans and Nora corresponded throughout their lives and their letters offer rare insight into their working methods, inspirations, and thoughts on the key artistic debates of their time. Hans and Nora Heysen: Two Generations of Australian Art also includes a large number of sketches and preparatory studies, many of which have never been exhibited before, that demonstrate not only the intricacies of their practice but also their extraordinary productivity.’]
Publishing details: National Gallery of Victoria, 2019 
©2018 
xix, 155 pages : illustrations. Illustrations on end papers.
Includes bibliographical references and index.
Heysen Nora view full entry
Reference: Nora Heysen - A Portrait, by: Anne-Louise Willoughby. [’Hahndorf artist Nora Heysen was the first woman to win the Archibald Prize, and Australia’s first female painter to be appointed as an official war artist. A portraitist and a flower painter, Nora Heysen’s life was defined by an all-consuming drive to draw and paint. In 1989, aged 78,Nora re-emerged on the Australian art scene when the nation’s major art institutions restored her position after years of artistic obscurity. Extensively researched, and containing artworks and photographs from the painter’s life, Nora Heysen: a portrait is the first biography of the artist, and it has been enthusiastically embraced by the Heysen family.

This authorised biography coincides with a major retrospective of the works of Nora and her father, landscape painter Hans Heysen, to be held at the National Gallery of Victoria in March 2019.

About the Author

Anne-Louise Willoughby is a journalist and freelance writer with a background in Italian and fine-art history. The Nora Heysen biography was written as the substantial component of her PhD in creative non-fiction, which she is currently completing at the University of Western Australia.’]


Publishing details: Fremantle Press, 2019, Pages: 384
Heysen Noraview full entry
Reference: see HANS AND NORA HEYSEN
TWO GENERATIONS OF AUSTRALIAN ART
[’Hans and Nora Heysen: Two Generations of Australian Art is the first major exhibition to bring together the work of Hans and Nora Heysen, father and daughter artists whose work spanned more than a century during which Australia and the world underwent numerous social, political and artistic transformations. In many ways, theirs is an archetypal twentieth-century Australian story of migration, family life, wartime separation and a deep connection to place.
Both artists travelled widely in Europe as part of their artistic education, and their work demonstrates not only a profound knowledge and appreciation of international influences, but also engagement with their Australian contemporaries. While Hans Heysen devoted his mature practice predominantly to the portrayal of Australian landscape, Nora Heysen became renowned as a portraitist and painter of still lifes. In 1938 she was the first female winner of the prestigious Archibald Prize for portraiture, and her success continued when she was appointed official war artist in 1943.
While Hans Heysen’s work has remained popular, critical interest in it has waned, and this exhibition seeks to reposition him as pioneer of Australian landscape painting and one of the most accomplished artists of his generation. Despite early critical success, Nora Heysen fell into obscurity from the 1950s; however, she continued to paint and draw until her death in 2003 at the age of ninety-two. Hans and Nora Heysen: Two Generations of Australian Art is the most complete exhibition of her works to date and demonstrates her profound, at times paradoxical, mingling of sensitivity and strength.
Hans and Nora corresponded throughout their lives and their letters offer rare insight into their working methods, inspirations, and thoughts on the key artistic debates of their time. Hans and Nora Heysen: Two Generations of Australian Art also includes a large number of sketches and preparatory studies, many of which have never been exhibited before, that demonstrate not only the intricacies of their practice but also their extraordinary productivity.’]
Publishing details: NGV, 2019
Sinozich Gina view full entry
Reference: see Full Circle – the return to the soul - Selection of artworks by Australian-Croat Gina Sinozich

Gina Sinozich is well known in Australia, and is now presented in Croatia, with an exhibition of selected paintings created between 2008 and 2010, within the DreamRaiser Project.
“An artist who has astonished the world” is the way Gina is usually introduced by art historians and art critics. Born in Istria in 1930, Gina migrated to Australia in 1957 and as a refugee settled in Sydney, embracing her second homeland.
Now, almost 60 years later, Gina is coming back to her beloved Croatia, to show the best of her artworks.
Within the DreamRaiser Project, Gina created several “Wanjina Watchers” art series, and her paintings are used as illustrations in the book by Vesna Tenodi, “Dreamtime Set in Stone – the Truth about Australian Aborigines, as requested by the Those- Who-Know”. A part of the “Wanjina Watchers – Celestial Guardians” artworks was displayed in Australia, at Vesna and Damir Tenodi’s ModroGorje Gallery, and is now for the first time being shown in Europe.
As a self-taught artist, Gina started painting in 2000, when she was 70 years old, and a few years later achieved worldwide recognition.
In 2003 the National Maritime Museum in Sydney commissioned a series of 14 paintings, depicting her journey from Croatia to Australia. Painting in her unique and playful style, Gina transformed the tragic past of her family into a message of hope, strength, and courage.
Gina’s paintings are on permanent display at the National Gallery in Canberra, Liverpool Museum in Sydney, Casula Powerhouse Museum in Sydney, National Maritime Museum in Sydney, as well as in a number of private collections in Australia, New Zealand, the USA and Europe.
Art historians and art critics glorify her not only for the vibrant energy and beauty of her paintings, but also for the extraordinary sensitivity and deep intuition which emanates from her art.
The National Gallery in Canberra has chosen Gina’s “Poppy Fields” as its signature artwork,
Apart from exhibitions in national galleries and museums, such as the National Maritime Museum (2003, 2013, 2015), Casula Powerhouse Museum and Arts Centre (2003, 2006, 2011), CrossArt Projects Sydney (2003), National Gallery of Australia, Canberra (2004), Auckland Art Gallery, New Zealand (2004), Liverpool Art Centre (2008), Gina in 2009 started showing her art in private galleries as well:
September 2009 – “Genuine Gina”, ModroGorje Gallery, Katoomba, Blue Mountains
December 2009 – “Wanjina Watchers by Gina”, ModroGorje Gallery, Katoomba, Blue Mountains
December 2010 – “Kerry Packer and Friends”, NG Gallery, Sydney
In 2005, national BBC TV broadcast the “7.30 Report: Amazing Art by Gina Sinozich” featuring Gina’s art and ex- perts attempting to explain the phenomenon of this self- taught artist who captured the Australian people’s hearts.
A documentary about Gina, “Passion of Gina Sinozich”, by Olivia Rousset and Sylvie le Clezio, was produced by ABC TV in 2008, and presented at the International Film Festivals in Sydney and Melbourne.
The National Maritime Museum every year includes Gina’s art in its digital exhibition, projecting the artworks onto the Museum’s roof, as a part of the Sydney Festival.
5on their information leaflets and catalogues.
In 2005 Gina started a collaboration with Vesna Tenodi, who managed the “Art for Health” project, running art workshops for the Australian-Croatian community.
In 2007, the participants of the “Art for Health” group held three exhibitions in Sydney Hospitals in Liverpool, Bankstown and Fairfield.
About Gina’s “Wanjina Watchers” opus, Luka Budak said: “Gina Sinozich translates her personal joy of life into her art. Her art is, however, much more profound than an artistic expression for its own sake; it is an inspirational message of hope, peace, beauty and magical energy – it is an uplifting and healing art!”
In 2008 Vesna and Damir Tenodi opened their private ModroGorje Gallery in the well-known tourist region of the Blue Mountains close to Sydney, and started the DreamRaiser Project, including several shows by Gina Sinozich.
In collaboration with Vesna Tenodi, Gina created three series of artworks for the DreamRaiser Project, entitled “Wanjina Watchers – Celestial Guardians”, inspired by Pre-Aboriginal Australian rock art.
Art historians and art critics praised the “Wanjina Watchers” opus as the best works that Gina has ever created.
In 2006 Gina was presented in a solo exhibition at the Rijeka Museum, with a review published in the Croatian Heritage Foundation yearly issue for 2007. In an article by Nicholas Tsoutas, the Director of the Casula Powerhouse Museum in Sydney, entitled “An artist who has astonished the world”, he said: “Gina’s art has a very powerful impact. Her paintings are bold and brave, with an enchanting energy, authenticity and courage. Gina paints fearlessly, and creating art is her expres- sion of freedom.”
With her extraordinary sensibility and deep insight, Gina transforms the beauty and joy of the spiritual world into material visible beauty. Standing in front of her artworks, the viewer too can experience an emotional and spiritual epiphany.
Through her inner liberation and trust in her own power of creation, Gina is an example of fearlessness and courage. Those qualities were a prerequisite to tackle the controversial themes within the DreamRaiser Project, inspired by Pre-Aboriginal Australian rock art.
At the opening of Gina’s exhibition at ModroGorje Gallery, Jo Holder, Director of CrossArt Projects, said: “ModroGorje Gallery is clearly a miracle. And it is fantastic to be here, to have this miracle inaugurated with an exhibition by Gina, the painter whose art is all about the miraculous, about magical beauty and how we encounter it in our everyday lives.”
Gina makes no attempt to explain the dynamics of her col- laboration with Vesna Tenodi, and the guidance she received while creating “Wanjina Watchers”. She makes no attempt to explain the sources of her insight and the intensity of inspira- tion that guided her hand. Instead, Gina defines that time and the “Wanjina Watchers” paintings simply as a “gift from God”.
Gina’s “Wanjina Watchers” opus is the result of her intui- tive recognition of divine guidance, much like Michelan- gelo experienced while painting the Sistine Chapel.
In the contemporary world, many people are paralysed by fear, alienated from their own selves, from other people, and from God. With her life and her art Gina shows that our fears can be overcome, that we can start a journey of return to our true selves, to our deepest, true essence, to our very soul.
Through her direct and authentic style, Gina expresses and communicates her joy of meeting her own soul, and the cour- age, moral responsibility and inspiration that only a soul free from fear can sense and express.
Gina’s “Wanjina Watchers” inspire us to start our own heart- to-heart dialogue. Just like her life journey – travelling from Istria to Australia and back to Istria – the “Wanjina Watchers” opus reflects a spiritual full circle – a journey of the soul re- turning to itself.
Having seen Gina’s art, we feel encouraged and enriched. We leave with the hope that, inspired by her courage and the powerful beauty of her art, we too will find a way to intertwine those same qualities within our daily activities, in order to live a more meaningful, authentic life.

Co-organisers: for “Wanjina Watchers” exhibition in Rijeka: Maritime and History Museum, Rijeka, and ModroGorje- DreamRaiser Project, Sydney, Australia.
With kind support of Primorje-Gorski Kotar County, Rijeka, and Croatian Studies Centre, Macquarie University, Sydney, Australia.
Co-organisers: for “Wanjina Watchers” exhibition in Pula: The Croatian Heritage Foundation, Pula, and ModroGorje- DreamRaiser Project, Sydney, Australia
With kind support of Croatian Studies Centre, Macquarie University, Sydney, Australia
Info:
Maritime and History Museum: uprava@ppmhp.hr Matis: Ana Bedrina: ana.bedrina@pu.matis.hr ModroGorje-DreamRaiser Project: Vesna Tenodi, email: ves@theplanet.net.au
Australian Gothicview full entry
Reference: Australian Gothic The Gothic Revival in Australian Architecture from the 1840s to the 1950s, by Brian Andrews. [to be indexed]
Publishing details: Melb. Miegunyah Press. 2001. Folio. Or.bds. Dustjacket. 194pp. Col.plates & many b/w ills. Fine. 1st ed. One thousand copies were printed.
Ref: 1000
War memorialsview full entry
Reference: Sacred Places by K. S. Inglis. [’From Melbourne's huge Shrine of Remembrance to the modest marble soldier, obelisk or memorial hall in a suburb or country town, these public sacred places mourn & honour Australians lost in battle.’]

Publishing details: Miegunyah Press. 1998. 4to. Or.bds. Dustjacket. 522pp.
Lurid Beautyview full entry
Reference: see Lurid Beauty: Australian Surrealism and its Echoes. Catalogue for NGV exhibition. While there are no biographical essays included there is often extensive information on the artists represented, including lesser-known Australian Surrealists. [’Lurid Beauty: Australian Surrealism and its Echoes provides an exploration of the Surrealist movement tracing its beginnings and far-reaching influence on Australian art, film and photography.
Featuring historical, trans-historical and contemporary works, this compelling publication showcases the work of artists including Sidney Nolan, Albert Tucker, Max Dupain, Eric Thake, James Gleeson, Julie Rrap, Pat Brassington, Leigh Bowery, David Noonan and Anne Wallace.
Surrealism, considered one of the defining art movements of the twentieth century, sought to liberate the unconscious mind and unleash the expression of one’s true desires by surrendering reason and social
conventions.Lurid Beauty: Australian Surrealism and its Echoes is a dynamic and extensive exploration of Surrealism and its significance within Australian art.
‘]
Publishing details: NGV, National Gallery of Victoria, 2015, 200 pages, large-format paperback. Fully illustrated in colour
Agapitos/Wilson Collectionview full entry
Reference: see Australian Surrealism, The Agapitos/Wilson Collection by Bruce James
Publishing details: Beagle Press, 2003. Signed by James Gleeson, James Agapitos, Ray Wilson, Bruce James
Surrealism in Australiaview full entry
Reference: see Australian Surrealism, The Agapitos/Wilson Collection by Bruce James
Publishing details: Beagle Press, 2003. Signed by James Gleeson, James Agapitos, Ray Wilson, Bruce James
Society of Artists Bookview full entry
Reference: Society of Artists Book, 1942. Illustrated, includes ‘biographical notes’ on 37 artists. Includes essays on artists and on exhibitions and on other subjects..
[Society of Artists Books were published 1942, 1943, 1944, 1945 and 1946-47]
Publishing details: Ure Smith, 1942, soft cover, 87pp
Ref: 27
war and artists 2 articlesview full entry
Reference: see Society of Artists Book, 1942. Illustrated, includes ‘biographical notes’ on 37 artists. Includes essays on artists and on exhibitions and on other subjects..
[Society of Artists Books were published 1942, 1943, 1944, 1945 and 1946-47]
Publishing details: Ure Smith, 1942, soft cover, 87pp


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