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The Scheding Index of Australian Art & Artists

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Showing 158,397 records of 158,397 total. We are displaying one thousand.

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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
Socirty of Artists historyview 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
Auld James Muir obituaryview 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
sculpture articleview 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
America - Australian art inview 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
Burdett Basil obituaryview 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
Drysdale Russell article by - Art and the peopleview 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
Longstaff John obituaryview 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
Ashton Julian obituaryview 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
Abbott Harold notes onview 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
Badham H E notes onview 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
Bell George notes onview 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
Carter Norman notes onview 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
Collins Albert notes onview 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
Dadswell Lieut Lyndon notes onview 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
Dobell William notes on and articleview 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
Preston Margaret notes on and articleview 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
Rees Lloyd notes on and articleview 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
Heysen Hans notes on and articleview 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
Dundas Douglas notes onview 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
Eldershaw J R notes onview 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
Feint Adrian notes onview 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
Fleischmann Arthur notes onview 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
Harvey E A notes onview 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
Herbert Harold notes onview 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
Heysen Nora notes onview 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
Lahey Vida notes onview 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
Lindsay Daryl notes onview 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
Macqueen Kenneth notes onview 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
Medworth Frank notes onview 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
Mayo Daphne notes onview 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
Meere Charles notes onview 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
Meldrum Max notes onview 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
Moore John D notes onview 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
Murch Arthur notes onview 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
Proctor Thea notes onview 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
Perry Adelaide notes onview 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
Rowell John notes onview 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
Dattilo-Rubbo A notes onview 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
Sherwood Maud notes onview 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
Shore Arnold notes onview 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
Smith Joshua notes onview 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
Smith Sydney Ure notes onview 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
Tribe Barbara notes onview 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
Wakelin Roland notes onview 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
Waller Napier notes onview 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
Wilson Eric notes onview 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
Society of Artists Bookview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Ref: 27
Smith Sydney Ure article byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
wood engraving article by Frank Medworthview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Carter Norman article on criticismview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Spencer Gwen Morton article on picture sales and the artistview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Dundas Douglas article byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Missingham Hal article byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
training in art - Missingham Hal article byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Rees Anne Gilmore article on Arts and Crafts byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Arts and Crafts - Rees Anne Gilmore article byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Medworth Frank article byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Zander Alleyne article on planning byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Murdoch Keith article byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Duhig Dr J V article byview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Cambridge Enid notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Smith Jack Carington notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Cook James notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Drysdale Russell notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Friend Donald notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Haxton Elaine notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Hele Ivor notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Robertshaw Freda notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Thornhill Dorothy notes onview full entry
Reference: Society of Artists Book, 1943. Illustrated, includes ‘biographical notes’ on 10 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, 1943, soft cover, 88pp
Society of Artists Bookview full entry
Reference: Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Ref: 27
Annand Douglas notes onview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Appleton Jean notes onview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Kaufman Edgar article byview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Medworth Frank article byview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Dobell William case article onview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Preston Margaret article byview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Dadswell Lyndon article on sculpture byview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
sculpture article by Dadswell Lyndon view full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Smith Bernard article on art byview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Medworth Murial article on pottery byview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
pottery - Medworth Murial article on pottery byview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Carter Norman article by on stained glassview full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
stained glass - Carter Norman article by on view full entry
Reference: see Society of Artists Book, 1944. Illustrated, includes ‘biographical notes’ on 10 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, 1944, soft cover, 86pp
Society of Artists Bookview full entry
Reference: Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Ref: 27
addresses of Society of Artists membersview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Society of Artists members addresses of view full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Murdoch Keith article on artview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Preston Margaret article on artview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Smith Bernard reviews of exhibitionsview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Medworh Frank article on artview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Medley J G D article on artview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
James R Haughton article byview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Jones Charles Lloyd article byview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Mayo Daphne article on art in Brisbane byview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Brisbane Mayo Daphne article on art in Brisbane byview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Missingham Hal article on NSW Art Galleryview full entry
Reference: see Society of Artists Book, 1945-6. Illustrated, includes ‘biographical notes’ on 2 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, 1946, soft cover, 80pp
Society of Artists Bookview full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Ref: 27
addresses of Society of Artists membersview full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Society of Artists members addresses of view full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Stokes Constanceview full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Stokes Constance notes on view full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Herman Sali notes on view full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Casey Mrs R G article byview full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Wilson Eric obituaryview full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Preston Margaret article on silk screen printingview full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
silk screen printing - article on by Preston Margaret view full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Medworth Frank article on art teachingview full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Smith Bernard reviews byview full entry
Reference: Society of Artists Book, 1946-7. Illustrated, includes ‘biographical notes’ on 2 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, 1947, soft cover, 82pp
Pate Klytieview full entry
Reference: see 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
Waller Christianview full entry
Reference: see 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
Waller Napierview full entry
Reference: see 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
Maloney Peterview full entry
Reference: MISSING IN ACTION. Peter Maloney; Texts by Lindy Lee, Peter Maloney, Terence Maloon, Anthony Oates
Publishing details: Published by DHG Publishing; Design by Small Tasks, 2018, Paperback, 56 pages,
Ref: 1000
Western Desert Sublimeview full entry
Reference: Western Desert Sublime: The Craig Edwards Gift to the ANU. Texts by Anne Martin, Ian McLean, Brian Schmidt.

Queenie McKenzie, Yinarupa Gibson Nangala, Esther Giles Nampitjinpa, Kayi Kayi Nampitjinpa (Barbara Reid Napangarti), Nyurapayia Nampitjinpa (Mrs Bennett), Tjawina Porter Nampitjinpa, Linda Syddick Napaltjarri, Lorna Napanangka, Dorothy Napangardi, Nyungawarra Ward Napurrula, Ningura Napurrula, Jorna Newberry, Mel Yamba Nungurrayi, Naata Nungurrayi, Tiger Palpatja, Ray James Tjangala, Warlimpirrnga Tjapaltjarri, Pinta Pinta Tjapanangka, Wimmitji Tjapangati, George Tjungurrayi, Yannima Pikarli Tommy Watson;
Publishing details: Published by DHG Publishing, 2018
Paperback, 72 pages, 21 x 22 cm

Ref: 1000
Aboriginal Artview full entry
Reference: see Western Desert Sublime: The Craig Edwards Gift to the ANU.


Publishing details: Published by DHG Publishing, 2018
Paperback, 72 pages, 21 x 22 cm

Aboriginal artview full entry
Reference: INDIGENOUS ART AT THE ANU 
Various Indigenous Australian artists; Edited by Claudette Chubb & Nancy Sever; Texts by Jon Altman, Kim Barber, Mary Eagle, Alison French, Melinda Hickson, Nigel Lendon, Howard Morphy, Nicholas Peterson, Nancy Sever, Margie West
Publishing details: Published by Macmillan Publishers, 2009
Hardback, 216 pages, 32 x 26 cm

Indigenous art see Aboriginal artview full entry
Reference:
PAINTING AMONGST OTHER THINGSview full entry
Reference: PAINTING AMONGST OTHER THINGS
– Lynda Benglis, Merlin James, Natasha Kidd, Rose Nolan, Ti Parks, Jacob Potter, Robert Rauschenberg, Richard Tuttle, Karl Wiebke / ANU SOA&D – Vanessa Barbay, Lionel Bawden, Riley Beaumont, Emma Beer, Vivienne Binns, Julie Brooke, Leah Bullen, Susan Buret, Tony Curran, Tiffany Cole, Fernando Do Campo, Romany Fairall, Kirsten Farrell, Rowan Kane, Karena Keys, Sanne Kolemij, Waratah Lahy, Haylery Lander, Peter Maloney, Cat Mueller, Sally O’Callaghan, Elena Papanikolakis, Rachel Siobhan Powell, Dionisia Salas, Helen Shelly, Bryan Spier, Kael Stasce, Chris Twiney, Ruth Waller, Jonathan Webster, Mei Wilkinson, Andrzej Zielinski / ANCA Gallery – Ian Burn, Vivienne Binns, Lucina Lane, Patrick Lundberg, Elizabeth Newman, Jelena Telecki / Texts by curators Peter Alwast, Tony Oates, Su Yilmaz, Oscar Capezio, and Ruth Waller (Former Head of Painting, SOAD)
Publishing details: 2018
Paperback, 128 Published by DHG Publishing, 128 pages, 20 x 25.5 cm


Ref: 1000
Sheard Charlie view full entry
Reference: Charlie Sheard; Text by Terence Maloon
Publishing details: 2016
Paperback, 48 pages, 22 x 23 cm
Published by DHG Publishing
Ref: 1000
Cummings Elisabeth view full entry
Reference: Elisabeth Cummings; Texts by Sioux Garside, Anna Johnson, Michael Kempson, John McDonald, Terence Maloon, and Guy Warren. [’With introduction by art critic, writer and curator John McDonald, preface by Terence Maloon, Director ANU Drill Hall Gallery and appreciations by a range of writers, Michael Kempson, Anna Johnson, Guy Warren, plus an interview with the artist by Sioux Garside,independent curator’]
Publishing details: Drill Hall Gallery Publishing
256 pages, 2017
Hardback, 256 pages,
Ref: 1009
Etching in the Sunview full entry
Reference: Etching in the Sun Prints made by Indigenous Artists in Collaboration with Basil Hall & Printers 1997-2007
Mick Dodson AM, Basil Hall and Djon Mundine OAM
Publishing details: Drill Hall Gallery, ACT.
Ref: 1000
Gabori Sallyview full entry
Reference: Sally Gabori: A Survey Exhibition of Paintings 2005 – 2012. John McPhee, Beverly Knight and Terence Maloon
Publishing details: Canberra : ANU Drill Hall Gallery, 2013. Quarto, illustrated wrappers, pp. 56, illustrated.
Ref: 1000
Aboriginal Artview full entry
Reference: see Likan'mirri - Connections: The AIATSIS Collection of Art [’Catalogue of a unique exhubition of Indigenous art presented through a collaboration between the ANU Institute for Indigenous Australia andf the ANU Drill Hall Gallery, and the Australian Institute of Aboriginal and Torres Strait Islander Studies’] [To be indexed]


Publishing details: Published by Australian National University, Canberra (2004), Card covers, square octavo, 80pp, colour and b&w illustrated.
Likan'mirri II - Connections: The AIATSIS Collectionview full entry
Reference: Likan’ Mirri II: Indigenous Art from the Aiatsis Collection. Wally Caruana, Luke Taylor and Graeme K Ward[To be indexed]


Publishing details: Published by Australian National University, Canberra (date?)
Ref: 1000
Erskine James and Jacqui collectionview full entry
Reference: James and Jacqui Erskine Collection
Terence Maloon, James Erskine
Publishing details: Drill Hall Gallery, (date?)
Ref: 1000
Thomson Annview full entry
Reference: Freehand: Recent Works by Ann Thomson
Freehand, [foreword and essay by Terence Maloon. Includes bibliographical references.

Publishing details: Drill Hall Gallery, Drill Hall Gallery Publishing, [2015] 
46 pages : colour illustrations
Ref: 1009
Hughes Philipview full entry
Reference: Philip Hughes: Mountains of the Mind
Nancy Sever and Peter Haynes
Publishing details: Drill Hall Gallery, ACT, (date?)
Ref: 1000
Beard Johnview full entry
Reference: Headlands: John Beard Works 1993-2007
William Wright
Publishing details: Drill Hall Gallery, ACT, (date?)
Ref: 1000
Mais Hilarieview full entry
Reference: Triptych: Mais Mais Wright Wright
Michael Desmond
Publishing details: Drill Hall Gallery, (?)
Ref: 1000
Prowse Ruthview full entry
Reference: see A Collector’s Passion - The Ruth Prowse Collection
Publishing details: MPRG. 2005
Prowse Ruthview full entry
Reference: Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp
Ref: 144
Christano Dadang view full entry
Reference: Dadang Christano: Wounds in our Heart
Caroline Turner and Glen Barclay
Publishing details: Drill Hall Gallery (?)
Ref: 1000
Convergent Worldsview full entry
Reference: Convergent Worlds
Nancy Sever, Kate Briggs, Louise Martin-Chew, Alex Selenitsch & Janet Mc Kenzie
Publishing details: Drill Hall Gallery, ACT (?)
Ref: 1000
Storrier Timview full entry
Reference: Tim Storrier: Photographic Works 1971-2005 by Bill Wright
Publishing details: Drill Hall Gallery (?)
Ref: 1000
Maurin Michèle view full entry
Reference: Michèle Maurin; Nancy Sever, Gérard Henry
Publishing details: Drill Hall Gallery, (?)
Ref: 1000
Valamanesh Hosseinview full entry
Reference: Natural Selection: Hossein Valamanesh
John Neylon
Publishing details: Drill Hall Gallery (?)
Ref: 1000
Mais Hilarieview full entry
Reference: Hilarie Mais Survey of Works 1974-2004
Peter Hill and Melanie Eastburn
Publishing details: Drill Hall Gallery (?)
Ref: 1000
Todo Kensuke view full entry
Reference: Kensuke Todo by Peter Haynes, Terence Maloon
Publishing details: Drill Hall Gallery (?)
Ref: 1000
King Grahameview full entry
Reference: Grahame King Lithographs and Paintings
Publishing details: Drill Hall Gallery (?)(
Ref: 1000
Allport Mary Mortonview full entry
Reference: Introducing Mary Morton Allport and Her Journals, by Joanna Richardson,
Publishing details: Tasmanian Historical Research Association: Papers and Proceedings, 2007
Ref: 1000
Allport Mary Mortonview full entry
Reference: from Inside Story, RECOVERED LIVES
A painter, a teacher, and “a very superior Woman” by ALISON ALEXANDER
8 MARCH 2019
Part of our collection of articles on Australian history’s missing women, in collaboration with the Australian Dictionary of Biography:
Mary Morton Allport (1806–95)
English-born Mary Allport, who settled in Van Diemen’s Land with her husband and their young son in 1831, has a claim to be Australia’s first professional female artist. As well as taking commissions from fellow European settlers, she developed a reputation as a skilled miniaturist and was an early member of the Royal Society of Tasmania.
Allport was born Mary Morton Chapman in Birmingham, England, in 1806. Her father is reputed to have run a local hotel, the Castle Inn, successfully enough to send Mary to a boarding school run by a Mr and Mrs Allport in a nearby village. Mary loved school, excelling in music and especially art, and stayed on after her studies were completed, possibly as a pupil-teacher. She married the Allports’ son, Joseph, in 1826. It was to be a happy marriage.
Joseph, six years older than Mary, was a lawyer, and the newlyweds lived just outside Birmingham. Their first child died, but the second, a son named Morton born in 1830, flourished. His parents had already decided to emigrate to Van Diemen’s Land with a group that included Mary’s brother and his wife. When they arrived in Hobart Town in December 1831, the Allports were of a high enough social status to join the colony’s elite, attending a grand dinner at Government House to celebrate Queen Adelaide’s birthday.
The group bought land at Black Brush, about thirty kilometres from Hobart. Life there was hard: the Allports lived in a humpy with a blanket over the entrance while Joseph built a small house, and even it had no bed and no glass in the windows. Mary staunchly described conditions as “very comfortable,” and a visiting friend “found a jovial set — bushing or roughing it in the full sense of the Word — nothing but salt meat and Kangeroo occasionally.” Joseph Allport and Mary’s brother “bear it cheerfully in fact surprisingly,” added this friend, “tho’ I know Mrs A. to be a very superior Woman.”
In her diary Mary described — without complaint — cooking roast wallaby and stuffed echidna, washing clothing by hand in cold water in winter, and making baby clothes out of old garments. This pioneering life, though bravely described, must have been difficult for a young woman unused to domestic work.
The farm brought in very little money, and in July 1832 Mary advertised that she would paint miniatures, either copying existing ones or visiting Hobart for sittings. With this advertisement she became Australia’s first recorded professional female artist. She gained a commission to paint a portrait — and then to mend it after the subject’s daughter “took off a large portion of the chin and neck with her finger.” She spent such spare time as she had sketching the surrounding scenery, and made a folio painted with flowers for the governor’s daughter, perhaps as a form of publicity.
In October the family moved to Hobart, where Joseph established a large law practice and Mary managed their cramped lodgings and sketched flowers she found in the bush. “It seems to me a little paradise after my late windowless, chairless abode,” she wrote in her diary, “but the bed is the grand comfort.” Her life in these relatively comfortable and sociable surroundings — visiting, dining, playing piano duets, attending a ball at Government House — was far more enjoyable than it had been in the country.
Mary had some trouble with convict servants, who tended to drink heavily and become unreliable. In one case, a servant named Marion took Morton to buy vegetables and failed to return. It was seven hours before they were found, by which time Marion was tipsy and Mary, heavily pregnant, was beside herself with worry.
Two more convict women proved similarly unreliable, and Mary was without a servant when she went into labour. A baby girl was born safely with the aid of a midwife. With two young children, Mary’s diary petered out, but a later one, in 1853, shows that much of her time was taken up with caring for the family and household chores such as ironing, sewing and cooking.
As Joseph’s income grew, the Allports moved house, first to a cottage and later to a large house, Aldridge Lodge. Mary bore five more children, three of whom died young — two as babies and one aged six, who drowned in the garden pond. As well as rearing the children and running the home, Mary continued her art, painting more miniatures. She also taught drawing to her children and to friends. She fitted in painting around her household duties and did not gain particular acclaim at the time; she did not sell her paintings, and tended to be overlooked among better-known male artists, including John Glover and Samuel Prout.

Mary Morton Allport seated in bushland with grass trees, photographed by Morton Allport, c. 1820–60s. Libraries Tasmania, 607997
Although Mary is not seen now as a first-rate artist, her paintings are very attractive and many have historical interest, such as her depiction of an early Hobart regatta in 1842 and another of the Great Comet of 1843, seen from her garden in March of that year. Allport also produced many paintings of women with their families and involved in activities such as reading music, which, apart from their charm, are invaluable for those studying the position and activities of women at the time.
When Hobart’s first art exhibition was held in 1845 it mostly comprised European works lent by their owners. Among the small selection of paintings by local artists was Allport’s The Flowered Waratah. As a local reviewer described it, the painting was “executed by the fair artist with her usual ability, and in a rather different style from that so minute and delicate which is displayed in her drawings on ivory, of indigenous plants and flowers.” Allport appears not to have taken part in the next exhibition, in 1851, but showed two paintings in the Art Treasures Exhibition of 1868: My Pets and Portrait of John Glover. “The work of a talented lady,” was the mild comment of one reviewer.
The final exhibition at which she showed paintings was held in 1863. Allport contributed a view of the city of Litchfield in England, which was given a prominent place and praised as “well painted… a fine effect,” and A Group of Tasmanian and New Zealand Flowers. Despite its “almost microscopic” detail, the reviewer did not think highly of the second work, instead praising another flower painting as the best in the exhibition.
Joseph Allport died in 1877, and after a long widowhood Mary followed him in 1895, having reached the then-grand age of eighty-nine. She spent much time teaching and encouraging her granddaughter Curzona (Lily) Allport, a highly talented artist. Mary Morton Allport’s artistic recognition didn’t come until her great-grandson Henry Allport left his collection, including many of his great-grandmother’s works, to found the Allport Library and Museum of Fine Arts in Hobart. •
FURTHER READING
“Introducing Mary Morton Allport and Her Journals,” by Joanna Richardson, Tasmanian Historical Research Association: Papers and Proceedings, 2007
Thorpe Lesbiaview full entry
Reference: see lot 167, Jean Marc Gallery and Auctioneer, March 15, 2019, Lesbia Thorpe (Australia 1919 - 2009); Polperro, Cornwall; oil on canvas; 17 x 13 in; frame: 23 x 19 ins. Description: Painter and printmaker, was born in Elsternwick, Victoria, on 15 March 1919. She studied art with Dattilo Rubbo in Sydney in 1931-37 and was elected a member of the Painter-Etchers Society in 1937 and of the Royal Art Society in 1943. In 1942 she executed murals and theatre sets for the Independent Theatre and the Theatre Royal; in 1944 (with William (Bill) Constable ) she did murals for the Stage Door Canteen, Sydney. She illustrated Alan Marshall’s People of the Dreamtime (Cheshire) and G. Rawson’s The Cruise of the Roebuck (Hawthorn Press), both published that same year (1944). Thorpe travelled overseas in 1953 and studied printmaking with Gertrude Hermes at the Central School, London. The following year she was elected an associate member of the Society of Wood Engravers of Great Britain. On a second visit to London in 1960, she was elected a member of the Royal Graphic Art Society. After returning to Victoria in 1956, she joined the Melbourne Graphic Artists group. In 1964 she lectured in printmaking and watercolour at the NGV. She toured Bali and Java as art tutor in 1970. She was Patron of the PCA’s Print Commission in 1982. In the 1990s she was living and working in Queensland (Thomas). Best known for her woodcuts and colour prints, Lesbia Thorpe had many solo and joint exhibitions and won many prizes for her prints (see aGOG). Her works include a large undated ink drawing of Aborigines in a landscape with black boys (Wrobel col.) and the linocut Desert Nomads 1994, edn 6 (aGOG).
Edwards Tonyview full entry
Reference: From Pittwater Online News, May 11 - 17, 2014: Issue 162:
Tony Edwards 
For those of us growing up in the 1970’s and early 1980’s Tracks was the magazine you read, either covertly in the newsagency because pocket money was scant, or while discussing its content and even literary merit in high flung prose. One noticed that those who would discuss the merits of the articles, in an abstract sociological way, within a short amount of time, were also reading a comic book whose main character, Captain Goodvibes, a creation who was doing things that these high thinking well speaking ‘fans’ should find beyond them, caused said intellectuals to giggle like girls. 

The connection between these prosaic Thinkers and the creator of Captain Goodvibes is not such a huge gap it turns out – Tony Edwards enjoys a good book, a thoughtful film and the music of dead European composers.
Captain Goodvibes spoke the language of many between 1973 and 1981 – a parody of all the excesses of surfing as it morphed into cult status, where the champions of the day were pinned up on the bedroom walls of teenage girls and sighed over, the flying pork chop gave voice to that Australian ‘laugh at pretentious wankers’ notion carried forward from our colonial roots to the present day.
Mr. Edwards, although able to perfectly epitomise all the excesses of then is also a creative Janus –an artist whose ability to speak equally eloquently in the medium of paintings has seen the By The Way exhibition at the Museum Of Sydney which ran throughout July and August 2013 attract critical acclaim and expand his loyal audience. 
Of that exhibition; 
Travel pulls the rug of familiarity from under your feet; it makes everything fresh, mysterious and more vivid. It is the perfect cure for flagging inspiration. We piece together a feeling for a new place from a myriad discrete and seemingly unrelated elements, be it a particular bend in the road ahead, the stillness inside an ancient church, the sound of a gently flowing stream, the musty smell of a village bookshop, the unexpected kindness of a stranger or the curious sense of familiarity about places you've never been to before. None of these things can be painted, but they do inform art, and if painting is to have some sense of the ineffable, it helps to experience the tiny wonders of everyday life in a foreign land. The United Kingdom and Sicily have little in common, although both are a painter’s dream. The grass is greener on England's hills – the countryside sometimes redolent of chocolate-box art – but the sense of a turbulent past is ever present in Sicily. Perhaps the glowering presence of Etna underlines the fragility of life. Sicily offers dreamlike beauty in its baroque towns, side by side with the dreary plainness of postwar development. 
Tony Edwards took thousands of photographs while travelling through the United Kingdom and Sicily, and curiously, those he found exciting at the time now seem prosaic. Conversely, shots he has no recollection of taking have become the basis for many of the finished paintings included in this exhibition.
Retrieved from Live Guide
A few months ago we had a short note from Tony inquiring if we had any old historical photographs of certain places in Pittwater in relation to a project he is working on – did we! – files were quickly despatched by mail to yon’ gentleman…and by the way…are you THAT Tony Edwards of my younger days?...And of the more recent Barrenjoey thoughtlessness and the community's outrage at such a thought supported by your own characteristic thoughtfulness…?
Yes he is!
Herewith … five minutes with a wonderful artist and genuinely lovely man….who is still one of our own:
You were born in Strathfield (1944) - where did you grow up and what was that like?
I spent my first 12 years in Aspendale, a beachside suburb of Melbourne, it was a terrific place to be young, I could watch the steam trains roaring past like fire breathing dragons, and discovered if you laid a six inch nail on the track, the passing locomotive would forge it into a dagger, very useful for fighting the imaginary pirates that abounded in those parts. I explored the seemingly endless wetlands, but mostly sat on the great sweep of bay beach under a tea tree, daydreaming. I discovered early on that I enjoyed my own company and was perfectly content to sit and watch the clouds roll by and the world turn.   
My father was in charge of  a marvellous  film library run by the Victorian government, and in those far off days we watched the best of world cinema in our lounge room, along with half the neighbourhood a couple of nights a week. In 1957 my parents moved to Sydney, Dad was to run the film department of ABC TV when it first went to air, and bought a modest fibro house in Bayview. Bayview was like some forgotten colonial outpost, complete with abandoned farms, a tumble down boat builder’s yard and slipway, the dimly lit post office and general store with the Devonshire tea rooms built out over the water, old work boats washed ashore in the distant past, quietly rotting away. The place seemed to be inhabited entirely by eccentrics, bohemians, drunks, a mad professor, artists, writers, remittance men and all manner of refugees from reality. It was like a dream, out of time with the rest of the world. I didn't want Bayview to ever change nor to ever leave. Time of course has had its way with both of us. 
You trained as an architect but ended up as one of our favourite cartoonists during the 1970's and 80's - why the switch?
Architecture was a catch-all faculty for aspiring creative types and degenerates, most of whom had no idea what they wanted to do or be, apart from drinking too much and satisfying their mating urges. Many, like me, dropped out along the way, to pursue some other career. Being a bit slower than most, I staggered on as a draftsman for another 12 years, numbed by the exquisite boredom of the job. It was not entirely a waste of time. I started doodling in the margins to pass the dreary hours and one day took some of these scribbles to show a friend. There was another guest for lunch that day, a rather bookish owl called John Barnes. John was editing a little surfing magazine called Tracks, and he liked my work. I left my day job a couple of months later and took up permanent residence in Financial Siberia.
What are your best memories of that period with Tracks?
The very best thing about Tracks was that the office was in Whale Beach, Sally, my wife, baby Chloe and I moved to Palm Beach from the Cross to be near the workplace. We rented one of the original 1912 bungalows for $ 30 a week and found that we were living in paradise. Paradise, however, was not the ideal place to work, being more suited to the leisurely arts and the sampling of forbidden fruit. For reasons that still puzzle me, Captain Goodvibes became very popular very quickly. This caused friction and jealousies within the office. I was seen as an outsider, I didn't surf, being a red head, was too fair to spend time in the sun, and was a class A dag surrounded by sun tanned Adonis like surf-o-holics, who, by a ridiculous accident created a cartoon strip that for a time outsold the magazine that published it. 

Right: with wife Sally while travelling
There seems a similarity between your early works (1973) and those created by Chris O'Doherty (Reg Mombassa) for Mambo beginning a few years later (1976) - have you two had a beer together - or is this just the universal consciousness of the mid 1970's?
Definitely the universal consciousness at work. Chris and I met for the first time in the late nineties, exchanged compliments and never met again. I'm a bit reclusive and have never sought the company of fellow practitioners.  I really like his early realist paintings of Australian houses and  landscapes, his Mambo graphics and more recent paintings don't do much for me, probably because I've run away from graphics and cartooning in order to be a painter. Chris's brother Peter, also a former Mental 's member- turned - artist is more my cup of tea.
Although known for Captain Goodvibes you are also a painter of some renown - exhibiting at Museum of Sydney ( By The Way - July 2013) - what would you define your genre as?
Apart from being a pleasant way to pass the time, painting occasionally has a power move people, as does some music. Many years ago an American woman bought a large landscape at one of my exhibitions, when I enquired how she knew of my work, she replied that her husband had a small print of mine beside his bed as he lay dying, and stared at it constantly even as he faded away. I was thunderstruck. It was then that I realised If the arts are to have any relevance in our society they must do their job well, delight the eye,( or ear ), smooth the troubled brow and in some way help us come to terms with life's great mysteries.  As for genres, I'm definitely a member of the "Old white bloke" school. Stuck somewhere between the 16th century and the mid 19th, My brain pines to be to be more contemporary but my painting arm refuses to acknowledge the modern era. 
Who are your favourite artists and why?
In no particular order, Vermeer, Corot, Vuillard, Bonnard Edward Hopper, Clarice Becket, ( Australian ) Braque, Derain, Juan Gris, Matisse, Hammershoi, ( a Danish painter ) and many others. All have a certain power, and it's very personal, to pierce my heart with arts golden arrow. I look at their work and it sends a shiver down my spine. 
What is coming up in the future – any exhibitions slated?
The friends of the Historic Houses Trust have offered me a show in their new home, Juniper Hall, in Paddington, next year, and as we are about to move back to the peninsula after a long absence, it will be my homage to Pittwater and Broken Bay. I had hoped to stage it at the Manly regional gallery, but it wasn't to be.
What is your favourite place/s in Pittwater and why?
The whole western shore is a priceless jewel, but I particularly love the Basin and the little beach below West Head, Resolute Beach. Whenever I'm there I feel as if I have mistakenly walked into Heaven. There is an ancient and wonderful spirit about the place.
What is your 'Motto for life' or a favourite phrase you try to live by?
Always keep a dream in your pocket.


Woolner Thomasview full entry
Reference: Tennyson and Thomas Woolner (Tennyson Society monographs) by Leonee Ormond (Author)
Publishing details: The Tennyson Society, Tennyson Research Centre (1981) 31pp [photocopy]
Patterson Viola.view full entry
Reference: Victoria, BC. Twelve Woodcuts by Viola Patterson. [This appears tio be in the same series as: Hawaii: Twelve Woodcuts by Ambrose Patterson. (University of Washington Chapbooks, Number Fifteen)
plates, boldly printed, and reduced in size from the originals, which measured 8" x 10.5" and were available for $6 each directly from the artist. Patterson was born in Daylesford, Victoria; he studied in Melbourne and Paris, where he exhibited in some of the early Salon d'Automne exhibitions. He left Australia for Hawaii in 1916, eventually settling in Seattle, where he became one of the leading modernist painters in the Northwest. scarce.]
Publishing details: Card Covers, 1928.
Ref: 1003
Beavan William 1944-2005view full entry
Reference: Ebay listing 14.3.19: Biographical Information:
William (Bill) Beavan
1944 – 2005
Bill Beavan was born in 1944 in South Africa. His family came to Australia at the age of four.
A renowned Australian Artist well-known for his vibrant canvases featuring the Australian landscape and its wildlife, especially birds. He was credited with possessing a unique ability to capture the mood of Australia and once was described as a bushman who lives in the city.
Ballarat in picturesview full entry
Reference: Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Ref: 138
Frank Daleview full entry
Reference: Dale Frank. Catalogue, illustrated. Exhibitions from 1980 to 1987.
Publishing details: [Toorak : Realities Gallery, 1987]. Quarto, illustrated wrappers, pp. [8],
Ref: 1000
Ropar Dennisview full entry
Reference: Dennis Ropar presents : Roparville 2001-2011

Publishing details: [Melbourne] : Jackman Gallery, [2011]. Quarto, illustrated wrappers, bifold. Includes flyer.
Ref: 1000
Lueckenhausen Helmutview full entry
Reference: Lueckenhausen
illustrated. Includes lists of collections and exhibitions.
Publishing details: Surrey Hills, Vic: H. Lueckenhausen, circa 1987. Quarto, illustrated wrappers, pp. 9,
Ref: 1000
Leveson Sandraview full entry
Reference: Sandra Leveson : decade of Sandra Leveson 1986 – 1996. Essay by Helen Ivory.
Publishing details: Adelaide : BMG ART, 1996. Quarto, wrappers, pp. [24], illustrated.
Knight Jasperview full entry
Reference: Jasper Knight, introduction by Ken McGregor.
Publishing details: [London : Peta O’Brien Contemporary Art, 2007]. Quarto, wrappers, pp. [60], illustrated.
Ref: 1000
Leveson Sandraview full entry
Reference: Sandra Leveson 1967-77, illustrated. Chronology of artists work.
Publishing details: Melbourne : University Gallery, University of Melbourne, 1977. Quarto, wrappers, pp. [12],
Ref: 1000
Keeling Davidview full entry
Reference: David Keeling – on a clear day

Publishing details: Melbourne : Niagara Galleries, 2017. Quarto, illustrated wrappers, pp. 24, illustrated. Includes post card and price list.
Ref: 1000
Perceval Johnview full entry
Reference: Recent works by John Perceval

Publishing details: [Melbourne] : South Yarra Gallery, 1970.  Quarto, Illustrated wrappers, pp. [4]. Includes paintings from 1940s to 1970.
Ref: 1000
Boyd Davidview full entry
Reference: David Boyd

Publishing details: Melbourne : South Yarra Gallery, 1975. Quarto, illustrated wrappers, pp. 4, catalogue of 34 works.  
Ref: 1000
Ropar Dennisview full entry
Reference: Dennis Ropar. Buy Americana (signed copy)

Publishing details: Melbourne : the artist, 2004. Quarto, illustrated wrappers, pp. 16, illustrated.
Ref: 1000
Crooke Rayview full entry
Reference: Paintings by Ray Crooke

Publishing details: London : The Leicester Galleries, 1974. Octavo, illustrated cards, pp. 12, catalogue of 30 works, illustrated.
Ref: 1000
Papapetrou Polixeni (1960 - 2018)view full entry
Reference: Polixeni Papapetrou (1960 - 2018)
Lost Psyche.

Publishing details: Melbourne : the artist, 2014. Oblong folio, gilt-lettered laminated boards, pp. 36, illustrated. Limited to 1000 copies.
Ref: 1000
Ellis Rennieview full entry
Reference: Cup Fever. Rennie Ellis at the Melbourne Cup, ‘extensively illustrated with Ellis’ photographs of the ‘race that stops a nation’ at the height of 80s glamour.’
$75.00 AUD

Publishing details: Melbourne : Lothian, 1987. Quarto, illustrated wrappers, pp. 80,
Ref: 1000
Ford Sueview full entry
Reference: Sue Ford by Maggie Finch, et al. extensively illustrated. ‘Sue Ford was a pioneer of Australian photography, and one of the most important practitioners to emerge in the wave of 1970s feminist photographers. This retrospective exhibition celebrates her artistic life and career. It brings together key photographs
Publishing details: Melbourne : National Gallery of Victoria, 2014. Quarto, illustrated laminated boards, pp. viii; 168,
Ref: 1000
Drysdale Russellview full entry
Reference: Drawing on Drysdale

Publishing details: Albury : Albury Art Gallery, 2012. Quarto, illustrated cards, pp. 78, illustrated.
Ref: 1000
Arkley Howardview full entry
Reference: Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Ref: 1000
Burton Alison view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Clark Tony view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Danko Aleks view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Davila Juan view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Gower Elizabeth view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Johnson Christine view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Lowe Geoff view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Morton Callum view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Nixon John view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Temin Kathy view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Tyndall Peter view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Watson Jenny view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Zikos Constanze view full entry
Reference: see Howard Arkley and friends -
Alison Burton, Tony Clark, Aleks Danko, Juan Davila, Elizabeth Gower, Christine Johnson, Geoff Lowe, Callum Morton, John Nixon, Kathy Temin, Peter Tyndall, Jenny Watson and Constanze Zikos. Curated by Anthony Fitzpatrick and Victoria Lynn. 
Publishing details: Healesville, Victoria : TarraWarra Museum of Art, 2015. Quarto, illustrated boards, pp. 156, illustrated.
Margocsy Paulview full entry
Reference: The art of Paul Margocsy

Publishing details: Melbourne : the artist, 1994. Quarto, illustrated laminated cards, pp. 112, illustrated.
Ref: 1000
Payes Soniaview full entry
Reference: Sonia Payes : re generation

Publishing details: Brisbane : Sonia Payes ,2014. Quarto, illustrated wrappers, pp. [36], illustrated.
Ref: 1000
Lindsay Norman and familyview full entry
Reference: Lindsay Times : a souvenir of the Norman Lindsay centenary, 1979, HUNT, Rex A.E. (editor)

Publishing details: Creswick, Vic. : Cressaid Media, 1979. “Published for the Norman Lindsay Centenary Commemoration Committee and the Creswick Museum Trust” (p.2). Newspaper, folding to 9 pp, quarto, printed in sepia, illustrated
Ref: 1000
Papapetrou Polixeni view full entry
Reference: Eden - Essays by Isobel Parker Philip and Robert Nelson. Loosely enclosed, a digital print photograph by Papapetrou.

Publishing details: [Melbourne : the artist, 2016]. Quarto, illustrated wrappers with dustjacket, pp. 36, illustrated. Edition of 500 copies. Essays by Isobel Parker Philip and Robert Nelson. Loosely enclosed, a digital print photograph by Papapetrou.
Ref: 1000
Hickey Daleview full entry
Reference: Three stories / Morris Lurie; & ten drawings, plus one original / by Dale Hickey

Publishing details: Melbourne : Grossman Press, 1987. Edition limited to 200 numbered copies signed by the author and artist, with an original coloured illustration (of a condom) by Hickey. Quarto, decorated boards with glassine dustjacket as issued.
Ref: 1000
Jacks Robertview full entry
Reference: Robert Jacks : underwater garden – thinking of Miro. Essay by David Thomas, includes small piece of ephemera from the exhibition.
Publishing details: Melbourne : Metro 5 Gallery, 2003. Quarto, white wrappers, illustrated front, pp. 11, some illustrations.
Ref: 1000
Bren Jeffreyview full entry
Reference: Jeffrey Bren : the dark mirror. Illustrations throughout. Essays by the artists brother, Leon Bren, and Julie Collett.
$20.00 AUD

Publishing details: Ballarat : Art Gallery of Ballarat, 2010. Quarto, black wrappers, illustrated front, pp. 70,
Ref: 1000
Sievers Wolfgangview full entry
Reference: The sievers project. Pictures throughout. Statements by artists, including Jane Brown, Cameron Clarke, Zoe Croggon, Therese Keogh, Phuong Ngo and Meredith Turnbull.
Publishing details: Melbourne : Centre for Contemporary Photography, [2014]. Quarto, brown wrappers, pp. 44,
Ref: 1000
Sievers Wolfgangview full entry
Reference: Wolfgang Sievers 1913 – 2007
Catalogue of works and small biography. Essay by Martyn Jolly.
Publishing details: Melbourne : Glen Eira City Council Gallery, 2007. Quarto, wrappers, pictorial front, pp. 24, pictures throughout.
Ref: 1000
Angus J Colinview full entry
Reference: Australian artist, J. Colin Angus : one man exhibition of oil paintings
catalogue of 59 works, all illustrated, some colour. Includes price list from exhibition.
Publishing details: [Melbourne : Gallery Press], 1973. Quarto, white illustrated wrappers, unpaginated [pp.24],
Ref: 1000
Canning Crissview full entry
Reference: Criss Canning : reflecting on still life, illustrations of 24 works, including cover illustrations. Essay by Anna Clabburn. Exhibition dates 29 May – 21 June 1998.
Publishing details: Melbourne : Gould Galleries, 1998. Quarto, illustrated white wrappers, unpaginated [pp. 20],
Ref: 1000
Borgelt Marionview full entry
Reference: Marion Borgelt : memory & symbol. Catalogue with colour illustrations both sides. Essay by Sarah Johnson. Exhibition dates 20 August – 23 October 2016.
Publishing details: Newcastle : Newcastle Art Gallery, 2016. Quarto, trifold,
Ref: 1000
Nolan Sidneyview full entry
Reference: Sidney Nolan in China. Features conversation with the artist by Edmund Capon.
Publishing details: Sydney : Art Gallery of New South Wales, [1990]. Quarto, pink and black trifold with illustrated front.
Ref: 1000
Willebrant James view full entry
Reference: Willebrant. List of exhibitions featuring the artist.
Publishing details: Melbourne : Greythorn Galleries Fine Art, 2005. Quarto, illustrated wrappers, unpaginated [pp. 4], 9 illustrations.
Ref: 1000
Boyd Arthurview full entry
Reference: Arthur Boyd, catalogue with 25 illustrations, catalogue of 105 paintings, 35 ceramic paintings, 5 tapestries, 14 graphics , 30 etchings.
Publishing details: Guildford, England : Circle Press, 1971. Quarto, illustrated brown wrappers, pp. 21, 
Ref: 1000
Robinson Williamview full entry
Reference: William Robinson 28 June – 24 July 1996
Publishing details: Sydney : Ray Hughs Gallery, 1996. Quarto, illustrated wrappers, unpaginated [pp. 16], colour illustrations of all 21 works in catalogue.
Ref: 1000
Tanner Edwinview full entry
Reference: Edwin Tanner : Paintings from the 1950s to 1970s. Catalogue of 14 works, short biographical resume.


Publishing details: Melbourne : Charles Nodrum Gallery, 1995. Quarto, red wrappers, unpaginated [pp. 8], colour illustrations of 6 works.
Ref: 1000
Blogg Johnview full entry
Reference: Drawing with chisels: the woodcarvings of John K Blogg 1851-1936. Catalogue of 33 works from the exhibition, essay by  Narelle Russo.
Publishing details: Melbourne : Mornington Peninsula Regional Gallery, [2007]. Quarto, tri-fold, pictorial front, pictures of 8 carvings.
Ref: 137
Sutherland Jane, Ruth and Margaretview full entry
Reference: SUTHERLAND, Jane ; SUTHERLAND, Ruth ; SUTHERLAND, Margaret
Sutherland - Catalogue of 51 works by Jane, Ruth and Margaret Sutherland, essay by Stuart Rosewarne.

Publishing details: Melbourne : Victoria College of the Arts, 1977. Quarto, wrappers, pp. 12, 4 illustrations.
Ref: 137
Senbergs Janview full entry
Reference: Jan Senbergs : cruise ships don’t come to Melbourne much. Short essay by Don Watson.
Publishing details: Melbourne : Niagara galleries, 2013. Quarto, wrappers, illustrated front, pp. 24, full colour illustrations of 12 works from the exhibition.
Ref: 1000
Boyd Hermia view full entry
Reference: Hermia Boyd. Short biography and catalogue of works featured in the exhibition.
Publishing details: Melbourne : South Yarra Gallery, [1971]. wrappers, pictorial front, unpaginated [pp. 4], one picture of the artist.
Ref: 1000
Boyd Arthurview full entry
Reference: Arthur Boyd : a collection of work to mark the 70th anniversary of his birthday. Catalogue with images of 17 works, catalogue of 47 works.
Publishing details: Melbourne : Australian Galleries, 1990. Quarto, trifold, pictorial front,
Ref: 1000
Kupreos Nikosview full entry
Reference: Nikos Kupreos - features essays by Alisa O’Conner and Paraskevas Miliopoulos about the artist, as well as a catalogue of 44 works.
Publishing details: : Melbourne 1973 – 74
[Melbourne : Greka Press, 1974]. Quarto, wrappers, illustrated front, unpaginated [pp.12],
Ref: 1000
Leach Samview full entry
Reference: Sam Leach : The Ecstasy of infrastructure
Essay by Anthony Fitzpatrick, exhibition curator. Exhibition dates 19 November 2011 – 4 March 2012.
Publishing details: Melbourne : TarraWarra Museum of Art, 2011. Quarto, illustrated wrappers, pp. [8], some colour illustrations.
Ref: 1000
Daws Lawrenceview full entry
Reference: Lawrence Daws. Catalogue from exhibition, with list of previous exhibitions. Exhibition dates : 3 – 20 October.
Publishing details: Melbourne : Realities, 1973. Quarto, bifold, illustrated front.
Ref: 1000
Kelleher Art Trustview full entry
Reference: Kelleher Art Trust In Association with the Australian War memorial and the Auckland Institute and Museum - a joint exhibtion of paintings by Official Australian and New Zealand war Artists
Publishing details: Kelleher Art Trust, 1973
war artview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by GRANT, Kirsty ; VAN WYK, Susan

Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Australian artists and the war : follow the flag 1914-45view full entry
Reference: Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Papapetrou Polixeni view full entry
Reference: PAPAPETROU, Polixeni (1960 - 2018)
Polixeni Papapetrou. My heart – still full of her. Published to accompany an exhibition held at Michael Reid Gallery, 4-28 April, 2018. Essay by Natalie King.
Publishing details: [Melbourne : the artist, 2018]. Quarto, illustrated wrappers, pp. 28, illustrated. Edition of 500 copies.
Ref: 1000
Andrews John architectview full entry
Reference: see SL - magazine of the State Library of NSW, Autumn 2019, article on acquisition of the archive of the architect by the library.
Publishing details: State Library of NSW, Autumn 2019
Kent Milton photographerview full entry
Reference: see SL - magazine of the State Library of NSW, Autumn 2019, article on the photographer’s aerial photographs.
Publishing details: State Library of NSW, Autumn 2019
MacPherson Rev Peterview full entry
Reference: see SL - magazine of the State Library of NSW, Autumn 2019, article on 1841 sketchbook of 70 drawings by MacPherson in SLNSW.
Publishing details: State Library of NSW, Autumn 2019
Flowers of Tasmaniaview full entry
Reference: Flowers of Tasmania : the botanical drawings of Margaret Stones and William Buelow Gould : exhibition of works from the collection 10 February - 13 May 2007 / QVMAG (catalogue and works by WB Gould) Margaret Stones (works by Margaret Stones) Peter Timms (catalogue essay) Queen Victoria Museum and Art Gallery, Launceston.
Publishing details: Queen Victoria Museum and Art Gallery, 2007 
20 p. : col. ill.
Ref: 137
Stones Margaretview full entry
Reference: Flowers of Tasmania : the botanical drawings of Margaret Stones and William Buelow Gould : exhibition of works from the collection 10 February - 13 May 2007 / QVMAG (catalogue and works by WB Gould) Margaret Stones (works by Margaret Stones) Peter Timms (catalogue essay) Queen Victoria Museum and Art Gallery, Launceston.
Publishing details: Queen Victoria Museum and Art Gallery, 2007 
20 p. : col. ill.
Gould William Buelowview full entry
Reference: Flowers of Tasmania : the botanical drawings of Margaret Stones and William Buelow Gould : exhibition of works from the collection 10 February - 13 May 2007 / QVMAG (catalogue and works by WB Gould) Margaret Stones (works by Margaret Stones) Peter Timms (catalogue essay) Queen Victoria Museum and Art Gallery, Launceston.
Publishing details: Queen Victoria Museum and Art Gallery, 2007 
20 p. : col. ill.
Searle Doraview full entry
Reference: see Serle Dora (often mis-spelled)
Baily H Hview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Beattie J Wview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Bock Alfredview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Cherry Georgeview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Chinese and Oriental Photographic Companyview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Clifford Samuelview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Dixon Johnview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Dowling Robertview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Dowling W Paulview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Egerer Anthonyview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Frith Frederick and John Sharpview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Sharp John and Frith Frederick view full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Nevin T Jview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Nicholas R Jview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Reid P Lview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Winter Alfredview full entry
Reference: see The Painted Portrait photograph in Tasmania 1850-1900, by John McPhee. With glossary of terms and biographies of artists/photographers.
Publishing details: Queen Victoria Museum and Art Gallery, 2008, pb, 112pp,
Collected View Aview full entry
Reference: A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

colonial artview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Tasmanian artview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Gritten Henryview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Piguenit William 3 worksview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Gould William Buelow 4 worksview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Earle Augustusview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Glover John 2 worksview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Frith Frederickview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Bock Thomas 2 worksview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Mundy Henry 4 worksview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Brownrigg Marcus Blakeview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Strange Frederick 3 worksview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Duke Williamview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Hawkins Iview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Dowling Robert 3 worksview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Ramsay Hughview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Eyre Gladstoneview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Dowling Robert 2 worksview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Higgs Joshua Jrview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Fenton Jamesview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Forrest Haughton Johnview full entry
Reference: see A Collected View - Queen Victoria Museum and Art Gallery, compiled and edited by Helene Weeding. Includes biographical and bibliographical references on the artists. Contains 37 loose-leaf sheets in cardboard envelope: 36 plates with information on artist and artwork on reverse, + 1 sheet of background information.
"'A Collected View', provides a visual introduction to aspects of the social and natural environment of 19th century Tasmania as depicted by artists working in the State during that period. The paintings selected, from the collection of the Queen Victoria Museum and Art Gallery, are part of the exhibition, 'Aspects of Tasmanian Art', which focuses on the two dominant themes in Tasmanian art: landscape and portraiture."--Background information.
Language

Publishing details: [Launceston, Tas.] : Queen Victoria Museum & Art Gallery, [2011?], [36] p. of col. plates, [1] sheet (loose-leaf in envelope) : col. ill., col. ports. ; 31 cm.
Published

Voyage of Discovery to the Southern Landsview full entry
Reference: PERON, Francois and FREYCINET, Louis de. VOYAGE OF DISCOVERY TO THE SOUTHERN LANDS, an historical record. Atlas by Mm. Lesueur and Petit, second edition. Small folio Atlas, coloured and black & white plates, half leather (mottled).
Publishing details: Adelaide, Friends of the State Library of South Australia, 2008. Facsimile edition of the 1824 original. The deluxe issue of 150 numbered copies within the edition of 400. + Volume I (of two) of the accompanying octavo text
Ref: 1000
Petit Nicolas-Martinview full entry
Reference: see PERON, Francois and FREYCINET, Louis de. VOYAGE OF DISCOVERY TO THE SOUTHERN LANDS, an historical record. Atlas by Mm. Lesueur and Petit, second edition. Small folio Atlas, coloured and black & white plates, half leather (mottled).
Publishing details: Adelaide, Friends of the State Library of South Australia, 2008. Facsimile edition of the 1824 original. The deluxe issue of 150 numbered copies within the edition of 400. + Volume I (of two) of the accompanying octavo text
Peron Francois view full entry
Reference: see PERON, Francois and FREYCINET, Louis de. VOYAGE OF DISCOVERY TO THE SOUTHERN LANDS, an historical record. Atlas by Mm. Lesueur and Petit, second edition. Small folio Atlas, coloured and black & white plates, half leather (mottled).
Publishing details: Adelaide, Friends of the State Library of South Australia, 2008. Facsimile edition of the 1824 original. The deluxe issue of 150 numbered copies within the edition of 400. + Volume I (of two) of the accompanying octavo text
Freycinet Louis deview full entry
Reference: see PERON, Francois and FREYCINET, Louis de. VOYAGE OF DISCOVERY TO THE SOUTHERN LANDS, an historical record. Atlas by Mm. Lesueur and Petit, second edition. Small folio Atlas, coloured and black & white plates, half leather (mottled).
Publishing details: Adelaide, Friends of the State Library of South Australia, 2008. Facsimile edition of the 1824 original. The deluxe issue of 150 numbered copies within the edition of 400. + Volume I (of two) of the accompanying octavo text
Mahony Francis Proutview full entry
Reference: Dot and the kangaroo / by Ethel Pedley ; illustrated by Frank Mahony
Publishing details: Sydney : Angus & Robertson, 1920
Ref: 1000
Mahoney Frank Pview full entry
Reference: see Mahony Frank Prout
Shead Garryview full entry
Reference: article by Craig McGregor in SMH, Goodweekend, nd, inserted in The D. H. Lawrence Paintings - G&B and Craftstman House, 1993, 120pp, hc, dw, newspaper article inserted
Publishing details: G&B and Craftstman House, 1993, 120pp, hc, dw, newspaper article inserted
Watercolours Australian view full entry
Reference: see Australian Watercolours 1880s to1990s from the Art Gallery of New South Wales. Works by about 70 Australian watercolourists. With details of works and references.
Publishing details: AGNSW, 1995, card covers, 128pp, with index.
Watercolours Australian Twentieth Century view full entry
Reference: see Twentieth Century Australian Watercolours from the Collection (exhibition catalogue)
Publishing details: AGNSW, 1989
Perth Survey of Drawingview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Aspden Davidview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Baldessin Georgeview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Boyd Arthurview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Blackman Charlesview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Brack Johnview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Coburn Johnview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Counihan Noelview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Cress Fredview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Dickerson Robertview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Dobell Williamview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Drysdale Russellview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Dunlop Brianview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Fairweather Ianview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
French Leonardview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Friend Donaldview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Gilliland Hectorview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Gleeson Jamesview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Grey-Smith Guyview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Haynes Georgeview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Hinder Frankview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Jack Kennethview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
James Louisview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Juniper Robertview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Kemp Rogerview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Klippel Robertview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Lanceley Colinview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Larter Richardview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Lymburner Francisview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Lynn Elwynview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
McGilchrist Ericaview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Missingham Halview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Molvig Jonview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Nolan Sidneyview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Olsen Johnview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Passmore Johnview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Powditch Peterview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Rapotec Stanislausview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Rees Lloydview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Rose Davidview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Senbergs Janview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Smart Jeffreyview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Shannon Michaelview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Smith Ericview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Thake Erikview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Thornhill Dorothyview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Warren Guyview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Whiteley Brettview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Williams Fredview full entry
Reference: see Contemporary Australian Drawing - 1978 Perth Survey of Drawing. Includes biographical entries on the artists.
Publishing details: AGWA, 1978, pb, 127pp with index
Whiteley Brettview full entry
Reference: Brett Whiteley exhibition catalogue - Birds and animals : Brett Whiteley exhibition 1979, April 10 thru May 5 / credits, drawings presented by Endlessnessism Pty Ltd, paintings presented by The Whiteley Family Trust, ceramics, assistance Derek Smith.

Publishing details: Robin Gibson Galleries, 1979, 8pp,
Ref: 48
Baldessin George view full entry
Reference: George Baldessin : Occasional images from a city chamber 1975 by Anne Ryan.
Catalogue of an exhibition held at the Art Gallery of New South Wales, Sydney, 1st November, 1999 - 29th January, 2000. Bibliography: p. 6.


Publishing details: Art Gallery of New South Wales, 1999]
1 folded sheet [8 p.] : ill., port.
Ref: 48
Verbeek Anneview full entry
Reference: Directory 1988 - Australian Artists Producing Prints, Verbeek Anne (Editor)
Publishing details: Print Council of Australia, 1989, pb
Directory of Australian Printmakersview full entry
Reference: Directory of Australian Printmakers, 1982. Edited by Lilian Wood, [To be indexed urgently]
Publishing details: Print Council of Australia, 1982, pb
Wood Lilian (Editor)view full entry
Reference: Directory of Australian Printmakers, 1976. Edited by Lilian Wood, [To be indexed urgently]

Publishing details: Print Council of Australia, 1976, pb, 32pp
Munificenceview full entry
Reference: Munificence : the story of the Howard Hinton Collection / New England Regional Art Museum. A colour catalogue of the Howard Hinton Collection housed within the New England Regional Art Museum, Armidale. "The ... Collection, in sheer breadth of its coverage of Australian art from the 1880s to the 1940s, is the only collection of its kind in regional Australia" - p7. Includes complete liest of works in the Howard Hinton Colection.

Publishing details: Armidale, NSW : New England Regional Art Museum, 2014. 141 pages : colour illustrations ;

Hinton Howard Collectionview full entry
Reference: see Munificence : the story of the Howard Hinton Collection / New England Regional Art Museum. A colour catalogue of the Howard Hinton Collection housed within the New England Regional Art Museum, Armidale. "The ... Collection, in sheer breadth of its coverage of Australian art from the 1880s to the 1940s, is the only collection of its kind in regional Australia" - p7. Includes complete liest of works in the Howard Hinton Colection.

Publishing details: Armidale, NSW : New England Regional Art Museum, 2014. 141 pages : colour illustrations ;

NERAMview full entry
Reference: see Munificence : the story of the Howard Hinton Collection / New England Regional Art Museum. A colour catalogue of the Howard Hinton Collection housed within the New England Regional Art Museum, Armidale. "The ... Collection, in sheer breadth of its coverage of Australian art from the 1880s to the 1940s, is the only collection of its kind in regional Australia" - p7. Includes complete liest of works in the Howard Hinton Colection.

Publishing details: Armidale, NSW : New England Regional Art Museum, 2014. 141 pages : colour illustrations ;

New England Regional Art Meseumview full entry
Reference: see Munificence : the story of the Howard Hinton Collection / New England Regional Art Museum. A colour catalogue of the Howard Hinton Collection housed within the New England Regional Art Museum, Armidale. "The ... Collection, in sheer breadth of its coverage of Australian art from the 1880s to the 1940s, is the only collection of its kind in regional Australia" - p7. Includes complete liest of works in the Howard Hinton Colection.

Publishing details: Armidale, NSW : New England Regional Art Museum, 2014. 141 pages : colour illustrations ;

Critic As Advocateview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Contemporary art in Australiaview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Lawler Adrian essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Realism the newview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Studio of Realist Artists SORAview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Counihan Noel essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
O’Brien Justin essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Dobell William English portraits essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Wilson Eric essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Herman Sali essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
portraiture in Australia essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Drysdale Russell essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Antipodean exhibition 3 essays onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Nolan Sidney essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Pringle J D essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Lymburner Francis essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Olsen John essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
French Leonard essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Redpath Norma essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Klippel Robert essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Blackman Charles essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Boyd Arthur essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Plate Carl essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Dobell Essay essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Bellette Jean essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Brown Mike essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Fullbrook Sam essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Brack John essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Sansom Gareth essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
O’Connor Kevin essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Sibley Andrew essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Perceval John essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Friend Donald essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Fairweather Ian essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Nolan Sidney essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Tanner Edwin essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Rapotecc Stanislaus essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Cleghorn Tom essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Rose William essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Blackman Charles essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Sellbach Udo essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Kemp Roger essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Lynn Elwyn essays onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Boyd David essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Architecture in Australia essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Hughes Robert essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Dimmack Max as writer on Counihan essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Boyd Merric essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Macqueen Humphrey as critic essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
McCaughey Patrick essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Haese Richard essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Catalano Gary essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Bail Murray essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
St John Moore Felicity essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Smith Robert essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Klepac Lou essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Brook Donald essay onview full entry
Reference: see Critic As Advocate: Selected Essays 1941-1988 by Bernard Smith. Selection of critical essays in which Bernard Smith discusses Australian art between 1940 and 1988. Includes reviews of exhibitions by Australian artists. Illustrations.
Publishing details: OUP, Melbourne, 1989. Paperback, 374PP
Mack Ludwig Hirschfeld view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Maistre Roy de view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Hinder Frank view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Ostoja-Kotkowski Jozef Stanislaw view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Burt Warren view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Nixon John and Totview full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Totview full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Sequeira David view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Blanchflower Cathy view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Aslanidis John view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Botborg.view full entry
Reference: see Colour Music - Ludwig Hirschfeld Mack, Roy de Maistre, Frank Hinder, Jozef Stanislaw Ostoja-Kotkowski, Warren Burt, John Nixon and Tot, David Sequeira, Cathy Blanchflower, John Aslanidis, Botborg.

[’"Colour music brings together the work of visual artists who speculate on connections between pictorial form and pitch, harmony, movement and musical notation. A core of historical works by Roy de Maistre, Ludwig Hirschfeld-Mack, Jozef Stanislaus Ostoja-Kotkowski and Frank Hinder provides the framework for contemporary artists who are also engaged with the rapport between music and the visual arts. Extended forms of painting using light, performance, kinetics and musical collaborations continues the preoccupation with synaesthesia that haunted the modernist project. Video/film works from the 1980s, an immersive installation by Botborg, painted ‘compositions’ by John Aslanidis, John Nixon, David Sequeira and Cathy Blanchflower and collaborative performances round out this exhibition curated by Tony Oates."--Publisher's webssite -’]
Publishing details: Drill Hall Gallery Publishing, [2014] 
76 pages : illustrations (some colour)
Hassall Collectionview full entry
Reference: Hassall Collection: A masterpiece collection of Australian art. Curators Ternce Maloon and Quentin Sprague. Collection of Geoff Hassall, featuring predominantly abstract art. [’Hassall has loaned pieces for numerous museum exhibitions, but the Drill Hall show is a unique opportunity to see an overview of the collection. Curators, Terence Maloon and Tony Oates, were given a free hand and have chosen shrewdly. There’s no substitute for seeing the works at first-hand, but the catalogue maps out the thinking behind the show, putting pieces by leading indigenous artists alongside those by figures such as Tony Tuckson, Ian Fairweather, Ralph Balson, Jon Molvig, Robert Klippel, Ken Whisson, Roy Jackson and John Peart.’, John McDonald.]
Publishing details: ANU, Drill Hall gallery, 2019, pb, np,
Ref: 138
Hassall Geofrey & Milson Virginia (collectors)view full entry
Reference: see Century of Collecting, A - 1901 - 2001, curated by Nick Waterlow, IDG, 2001
abstract art in Australiaview full entry
Reference: see Hassall Collection: A masterpiece collection of Australian art. Curators Ternce Maloon and Quentin Sprague. Collection of Geoff Hassall, featuring predominantly abstract art. [’Hassall has loaned pieces for numerous museum exhibitions, but the Drill Hall show is a unique opportunity to see an overview of the collection. Curators, Terence Maloon and Tony Oates, were given a free hand and have chosen shrewdly. There’s no substitute for seeing the works at first-hand, but the catalogue maps out the thinking behind the show, putting pieces by leading indigenous artists alongside those by figures such as Tony Tuckson, Ian Fairweather, Ralph Balson, Jon Molvig, Robert Klippel, Ken Whisson, Roy Jackson and John Peart.’, John McDonald.]
Publishing details: ANU, Drill Hall gallery, 2019, pb, np,
private collectionview full entry
Reference: see Hassall Collection: A masterpiece collection of Australian art. Curators Ternce Maloon and Quentin Sprague. Collection of Geoff Hassall, featuring predominantly abstract art. [’Hassall has loaned pieces for numerous museum exhibitions, but the Drill Hall show is a unique opportunity to see an overview of the collection. Curators, Terence Maloon and Tony Oates, were given a free hand and have chosen shrewdly. There’s no substitute for seeing the works at first-hand, but the catalogue maps out the thinking behind the show, putting pieces by leading indigenous artists alongside those by figures such as Tony Tuckson, Ian Fairweather, Ralph Balson, Jon Molvig, Robert Klippel, Ken Whisson, Roy Jackson and John Peart.’, John McDonald.]
Publishing details: ANU, Drill Hall gallery, 2019, pb, np,
Alston Abbeyview full entry
Reference: see Sotheby’s Australia, 9 April, 2019. Catalogue includes biographical information: Lot 56, PROPERTY FORMERLY FROM THE DENIS JOACHIM COLLECTION, MELBOURNE
ABBEY ALTSON
1866-1949
Inspiration 1899
oil on canvas
signed and dated 'ABBEY ALTSON / 1899' lower right
130.5 x 96.5 cm
Provenance
Private Collection
Australian Paintings, Leonard Joel, Melbourne, 23 May 1979, lot 44, 'Youth and Fairy', illustrated
Private Collection, acquired from the above
Fine Australian Paintings and Drawings, Sotheby's Australia, Melbourne, 21 April 1986, lot 49A, illustrated
Mr Denis Joachim, Melbourne, acquired from the above
The Denis Joachim Collection Part II, Mossgreen Auctions, Melbourne, 28 June 2017, lot 132, illustrated
Private Collection, Melbourne, acquired from the above
Exhibited
Winter Exhibition, Royal Society of British Artists, London, 1899, no. 211, \xA375.0.0
Autumn Exhibition 1978: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 7-20 April 1978, no. 62, 'Youth and Fairy', illustrated
Publishing details: see Sotheby’s Australia, 9 April, 2019.
Nicholas Hilda Rixview full entry
Reference: see Sotheby’s Australia, 9 April, 2019. Catalogue includes biographical information: Lot 59: PROPERTY FROM A PRIVATE COLLECTION, NEW SOUTH WALES
HILDA RIX NICHOLAS
1884-1961
Purple and Blue [Portrait of Elsie Rix] (circa 1911-1913)
oil on canvas
81 x 60 cm
Provenance
Hilda Rix Nicholas, New South Wales
Private Collection, New South Wales, by descent from the above
Exhibited
Exhibition of Pictures by E. Hilda Rix Nicholas, The Guild Hall, Melbourne, 12-26 November 1918, no. 30, 'Purple and Blue - Portrait'
Exhibition of Drawings and Oil Paintings by E. H. Rix Nicholas, Anthony Hordern's Fine Art Gallery, Sydney, 11 June 1919, no. 31, 'Purple and Blue - Portrait'
Hilda Rix Nicholas, Robyn Brady and Bruce James at Caspian Gallery, Sydney, 23 July - 6 August 1991, no. 3, 'Purple and Blue 1914', NFS
Une Australienne: Hilda Rix Nicholas in Paris, Tangier & Sydney, Mosman Art Gallery, Sydney, 3 May - 13 July 2014, illustrated
Literature
Work of Mrs Rix Nicholas. Paintings of Distinction', The Argus, Melbourne, 12 November 1918, p. 7
'Art at Horderns'. Mrs. Nicholas's Paintings', The Sun, Sydney, 11 June 1919, p. 7
Jeanette Hoorn, Hilda Rix Nicholas and Elsie Rix's Moroccan Idyll: Art and Orientalism, The Miegunyah Press, Melbourne University, Melbourne, 2013, p. 190 (illustrated)
Jeanette Hoorn, Julie Petersen and Elena Taylor, Une Australienne: Hilda Rix Nicholas in Paris, Tangier & Sydney, Mosman Art Gallery, Sydney, 2014, pp. 20 (illustrated), 74
Arkley Howardview full entry
Reference: see Sotheby’s Australia, 9 April, 2019. Catalogue includes biographical information: Lot 78: PROPERTY FROM A PRIVATE COLLECTION, NEW SOUTH WALES
HOWARD ARKLEY
1951-1999
CHRISTINE JOHNSON
born 1959
Suburban Landscape 1987
synthetic polymer paint on canvas
signed, dated and inscribed 'Suburban Window / 1987 / Howard Arkley' verso
160 x 122 cm
Provenance
Roslyn Oxley9 Gallery, Sydney
Private Collection, New South Wales, acquired from the above in 1988
Exhibited
Howard Arkley: Suburban Urban Messages, Roslyn Oxley9 Gallery, Sydney, 1-19 September 1987, no. 6
Howard Arkley, Monash University Art Gallery, Melbourne, 18 October - 30 November 1991, no. 67, 'Suburban Window'
Literature
John McDonald, The Sydney Morning Herald, Sydney, 1987
Jenepher Duncan, HA: Howard Arkley, Monash University Art Gallery, Melbourne, 1991, pp. 30, 41
Ashley Crawford & Ray Edgar, Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, p. 12
Jo Litson, 'Flower Power', The Australian, Sydney, 1 December 2001
John Gregory, Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p. 147
John Gregory, Arkley Works, www.arkleyworks.com, illustrated
Balson Ralphview full entry
Reference: see Deutscher and Hackett catalogue, 10 April, 2019, lot 4:
RALPH BALSON
(1890 – 1964)
MATTER PAINTING, 1962
enamel on composition board
122.0 x 91.5 cm
signed and dated lower right: R. Balson 62
inscribed on old artist’s label verso: No. 13 /
PROVENANCE
Macquarie Galleries, Sydney
Private collection
Niagara Galleries, Melbourne (label attached verso)
The Western Mining Corporation, Australia
WMC Collection of Australian Contemporary Art, Sotheby’s, Melbourne, 15 March 2004, lot 110
Private collection, Sydney
EXHIBITED
Ralph Balson Exhibition of Paintings, Macquarie Galleries, Sydney, 3 – 15 July 1963, cat. 13 (as ‘Painting No. 13’)
Ralph Balson 1890 – 1964, Niagara Galleries, Melbourne, 21 June – 15 July 1989, cat. 10 (illus.)
CATALOGUE TEXT
Ralph Balson’s Matter Paintings were perhaps the most radical of his career. In the early 1960s, Balson completely abandoned the cool geometric formalism of his Constructive paintings, and surrendered aesthetic control to follow a spontaneous and semi-automatic style of gestural painting. Throughout his career, he had tirelessly sought a process of abstract painting that would respect the physical qualities of his material while illustrating what he would call the ‘ineffable’,1 the sublime and invisible forces of the universe. This pursuit led him through a disciplined, logical progression of different styles of pure painting – from planar geometric abstraction, to a painterly fragmentation and finally, the ‘Matter Paintings’ whose appearance was entirely governed by the inherent physical properties of poured paint. In this last major series of his career, the artist’s joy in the pure physicality of gesture and material supported the metaphysical underpinnings of his earlier painterly investigations, producing artworks whose swirling surfaces evoke the primordial tohubohu, the formless chaos of all things in the universe, great and small.

Matter Painting, 1962, is an expansive and organic example of this late style, where opposing forces compete in shallow pictorial space, jet-black enamel seeping into pools of cream paint with marbled frontiers and spattered incursions. In the absence of a clear focal point and the rectilinear format that had hitherto governed Balson’s compositions, the viewer’s eye is free to wander across the surface – a true Greenbergian all-over painting. While newspaper reviews of the time saw parallels with the nascent disciplines of molecular science, as well as space photography,2 the ripples and spatters inherent in Matter paintings can subjectively seem to coalesce into a wide range of organic forms. The ebbs and flows of their state of flux seem to breach the confines of the artist’s own grey wooden frame. Surprisingly, as opposed to using the smooth and varnished face, the artist has used the reverse side of a Masonite sheet for this painting, its tooth providing resistance against the flow of paint and a delicate foundation of texture beneath its veined surface.

Balson was a well-read artist, keenly following the developments of international art theory in books and periodicals. In 1960, he travelled abroad for the first time since emigrating to Australia as a boy, visiting exhibitions of the most progressive painting in Paris, London and New York. The gestural and spontaneous approaches of Tachisme and Art Informel were particularly stimulating for Balson. However, the artist also sought stimuli from beyond the field of visual arts, citing the ‘density and fluidity’ of James Joyce’s Finnegan’s Wake as inspiration for his newfound stream-of-consciousness and surrealist automatism in painting.3 The hypnotic surfaces of the Matter paintings are governed by the physical laws of the medium, following ‘its own rhythm, its own structure – a natural paint structure’4. The painting process became an allegory for Balson’s deep understanding of the physicality of the natural world, the relentlessness of universal flux, and the ultimate inevitability of entropy.

1. Adams, B., ‘Metaphors of Scientific Idealism: The theoretical background to the paintings of Ralph Balson’ in Bradley, A. and Smith, T. (eds), Australian Art and Architecture: Essays presented to Bernard Smith, Oxford University Press, Melbourne, 1980, p. 188
2. Henshaw, J., ‘Spattering and Scattering’, The Bulletin, Sydney, 24 February 1962
3. The artist, 1956, quoted in Gleeson, J., ‘Fluid Forms and Colours’, The Sydney Morning Herald, Sydney, 5 November 1967, p. 108
4. The artist quoted in Thomas, D., ‘Ralph Balson’, Art and Australia, Ure Smith, Sydney, vol. 2, no. 4, 1965, p. 290

LUCIE REEVES-SMITH
Miller Godfreyview full entry
Reference: see Deutscher and Hackett catalogue, 10 April, 2019, lot 5:
GODFREY MILLER
(1893 – 1964)
CRUCIFIXION, c.1961 – 64
oil, pen and ink on canvas on plywood
36.5 x 53.5 cm (canvas)
45.5 x 60.5 cm (board)
signed twice lower right: Godfrey Miller
bears inscription upper left: 149 / JH
PROVENANCE
The Estate of the artist, Sydney
Mr and Mrs John Henshaw, Sydney
Charles Nodrum Gallery, Melbourne (label attached verso)
Private collection, New South Wales, acquired from the above in 2004
Thence by descent
Private collection, New South Wales
EXHIBITED
Godfrey Miller Memorial Exhibition, Darlinghurst Galleries, Sydney, 16 February – 27 March 1965, cat. 28
Godfrey Miller, Charles Nodrum Gallery, Melbourne, 2 – 28 September 2004, cat. 15 (illus. in exhibition catalogue and on back cover)
LITERATURE
Henshaw, J., Godfrey Miller, Darlinghurst Galleries, Sydney, 1965, pl. 28 (illus.)
Ogburn, J., ‘Godfrey Miller, Artist’, The Telegraph, Sydney, 16 February 1965, p. 23
RELATED WORKS
Crucifixion, 1963, oil and pen and ink on canvas mounted on backing board, 45.5 x 61.0 cm, The Holmes à Court Collection, Perth, illus. in Edwards, D., Godfrey Miller 1893 – 1964, Art Gallery of New South Wales, Sydney, 1996, pl. 71, p. 86
Golgotha, 1960 – 64, oil and pen and ink on canvas, 67.3 x 100 cm, private collection, illus. in Edwards, D., Godfrey Miller 1893 – 1964, Art Gallery of New South Wales, Sydney, 1996, pl. 65, p. 75
CATALOGUE TEXT
Godfrey Miller was by all accounts an eccentric man, but also a distinguished and fastidious artist. With what Paul Haefliger, the Sydney Morning Herald art critic, once called a ‘tortuous technique’,1 Miller created complex and deeply cerebral artworks that vibrate with musicality and the intensity of the artist’s personal communion with each of them. His artistic execution, though laborious, was crystallised and refined over many years – each painting going through a gradual process of accretion and removal of lines and colours. They passed through years of successive stages: from monochrome lattices, to the addition of colour and finally the modelling, or what Miller would call the ‘science of drawing’.2 This process endowed his artworks, drawings and paintings alike, with what became his trademark web of intricate cross-hatching, running throughout the composition, and inscribing his compositions in three dimensions. For these reasons, many of Miller’s works are dated with wide tranches, and the artist was said to have considered about 40 of his paintings ‘completed’.3Crucifixion, c.1962, although not the only painting bearing this title, is the only one that was signed, attesting to the fact that Miller considered this example complete and resolved.

Still fixed to its original preparatory backing board, Crucifixion, displays the complex structure of Miller’s mature work, the ruled vectors running beyond the tacking margins of his pinned canvas and seeping into the grain of the plywood. This labyrinth of filaments supports the harmonious geometry of the composition, featuring at least three cruciform shapes, held together by an expansive open circle form or divine orb. The circular form would become a leitmotif in Miller’s later religious works. A preparatory sketch of the composition of Crucifixion can be found illustrated next to the reproduction of this painting in Godfrey Miller, 1965, edited by John Henshaw, who retained this painting in his personal collection until his death in 2006. Miller was absorbed by the epic, universal aspect of religious thought and found its manifestation in the unity of form: ‘Unity is a non material supersensible thing, it is dynamic, it breathes. Reality is made of cadences, rhythms, intervals, chords, qualities – all that science ignores’.4 All of his apparent abstract mathematical exactitude was supported by a deep symbolic and modernist spirituality rooted in anthroposophical mysticism.5

Miller created multiple versions of his most successful compositions (such as Nude and The Moon, Madonna, Summer, Unity in Blue). Crucifixion, is no exception, belonging to a late series of works, including Golgotha, 1960 – 64 illustrating in semi-abstract terms episodes of Christ’s crucifixion. He reduced visual perception to separate units which could be synthesised and rearranged into facetted semi-abstract prisms. The density of his grid varies, the filaments relaxing in breathy expanses only to concertina in tight clusters elsewhere. Miller uses this variation to create tonal differences that work in tandem with his painted hues of ultramarine, sulfur, vermillion and viridian. The paint is found in the interstices of his weave, laid and confined in lozenges and triangular facets, and shining through like stained glass, supporting the religious foundations of his composition. Miller presents the figure of Christ as a flickering central light, vertically bisecting this composition, his bowed head suggested by a series of delicate arcs to the right of the central cross. Subdued pearly light is filtered through the canvas, an eloquent evocation of divine mystery.

1. Haefliger, P., 'Sydney Group Show is exciting', The Sydney Morning Herald, Sydney, 30 July 1952, p. 2
2. Edwards, D., Godfrey Miller 1893 – 1964, exhibition catalogue, Art Gallery of New South Wales, Sydney, 1996, p. 56
3. ibid.
4. The artist, quoted in ibid., p. 104
5. Miller joined the Sydney Anthroposophical Society in 1940 and found a particular affinity with the teachings of German esoteric Rudolf Steiner, who sanctified the role of the artist as ‘bringer of the Divine to Earth’

LUCIE REEVES-SMITH
Audette Yvonneview full entry
Reference: see Deutscher and Hackett catalogue, 10 April, 2019, lot 6:
YVONNE AUDETTE
born 1930
CONVERSATION BETWEEN THE STARS, 1964
oil on composition board
93.5 x 130.0 cm
signed and dated lower right: Audette 64
signed, dated and inscribed with title verso: Audette / 1964 / conversation between the stars
ESTIMATE: 
$70,000 – 90,000

PROVENANCE
Collection of the artist, Melbourne
Michael Whitworth, Sydney
Private collection, Queensland, acquired from the above in 2008
EXHIBITED
Yvonne Audette, Galleria Schneider, Rome, 22 April – 10 May 1965, cat. 5
Yvonne Audette: Different Directions 1954 – 1966, National Gallery of Victoria, Melbourne, 13 September 2007 – 17 February 2008 (lent by Michael Whitworth) (label attached verso)
LITERATURE
Heathcote, C., Adams, B., Vaughan, G., & Grant, K., Yvonne Audette: Paintings and Drawings 1949 – 2003, Macmillan, Melbourne, 2003, pl.100, pp.134 – 135 (illus.)
Grant, K., Yvonne Audette: Different Directions, 1954 – 1966, National Gallery of Victoria, Melbourne, 2008 (unpaginated)
CATALOGUE TEXT
Following studies at the Julian Ashton Art School, East Sydney Technical College and independent classes with Desiderius Orban and Godfrey Miller, Yvonne Audette left Australia in September 1952. Like so many young Australian artists she wanted to see the great art of the world, but unusually for the time she sailed to New York rather than London or Paris. Influenced by her American-born parents’ agreement to provide financial support if she went there rather than to Europe, this decision proved to be fortuitous, bringing her face to face with the burgeoning New York School of Abstract Expressionist painting. Audette’s first-hand exposure to the work of major exponents of the movement, including Willem de Kooning (whose studio she visited in 1953), Robert Motherwell and Mark Tobey, had a profound effect on her artistic development and while her training had been in the academic figurative mode, she began to move confidently towards abstraction. Notes in sketchbooks from the time document her thinking, ‘Let go of all figuration … Calligraphic work with free gesture has endless possibilities’ and the gentle exhortation, ‘Don’t get too sophisticated’.1

Leaving New York in mid-1955, Audette travelled in Europe before establishing a studio in Florence.2 Welcomed into a community of successful professional artists including Arnaldo Pomodoro and Lucio Fontana, and stimulated by both their example and the rich culture and history of her new surroundings, she worked hard, developing a mature style characterised by the textural layering of line and abstract form, dextrous mark-making and a lyrical use of colour. Painted in 1964, Conversation Between the Stars reflects the unique amalgam of influences that contributed to Audette’s visual language, from the blunt-ended lines applied with a palette knife of American painter Bradley Walker Tomlin, to the graffiti-like marks found on ancient Italian walls and echoing the spontaneous gesture of Cy Twombly (who she met in Rome in 1958). Audette’s paintings are often likened to a palimpsest, ‘an accretion of written shapes … stirring with the ghosts of earlier writings vanquished by time, or by deliberate … erasure’3, in which layers of paint are progressively built up before being repeatedly scraped back and scratched into to create the shimmering translucency and chromatic energy of works such as this.

While Audette’s work was rarely seen in Australia during her expatriate years, it was shown in various European cities (Florence, Milan, Paris, Rome and London) and CONVERSATION BETWEEN THE STARS was included in her solo exhibition at Galleria Schneider in Rome in 1965, the year before she returned home permanently. A rare female member of the generation of artists born in Australia between the wars who, through focussed ambition and in her case, fortuitous coincidence, established and maintained a long and successful career, Audette has since been recognised for her important contribution to the history of twentieth century art in this country. Acquisitions by major public galleries were followed by a series of institutional exhibitions – Queensland Art Gallery (1999), Heide Museum of Modern Art (2000), National Gallery of Victoria (2008), Ian Potter Museum of Art (2009) and the Art Gallery of Ballarat (2016) – and the publication of a major monograph in 2003.

1. The artist quoted in Grant, K., Yvonne Audette: Different Directions 1954-1966, exhibition catalogue, National Gallery of Victoria, Melbourne, 2008, unpaginated
2. Audette lived in Florence until 1963 when she relocated to Milan before returning to Australia permanently in 1966.
3. Gleeson, J., review of Audette’s 1968 Sydney exhibition at Bonython Gallery, quoted in James, B., ‘Yvonne Audette: The Later Years’, Heathcote, C., et. al., Yvonne Audette: Paintings and Drawings 1949-2003, Macmillan, Melbourne, 2003, p. 157

KIRSTY GRANT
MELBOURNE
Strutt William - Slack Timesview full entry
Reference: see Deutscher and Hackett catalogue, 10 April, 2019, lot 13:
WILLIAM STRUTT
(1825 – 1915)
SLACK TIMES, 1883
oil on canvas
79.0 x 92.0 cm
signed lower right: W. Strutt. senr
bears inscription on frame verso: Slack Times by W. Strutt / Exhibited 1884 / … London Society
[including pencil study
180744B
FIRST SKETCH FROM NATURE, Study for SLACK TIMES, 1883
pencil on paper
14.0 x 20.5 cm
inscribed with title lower centre: First Sketch from nature]
PROVENANCE
Private collection
Louise Whitford Galleries, London
Kozminsky Galleries, Melbourne, 1977
Joseph Brown Gallery, Melbourne, September 1982
Private collection, Melbourne
Deutscher~Menzies, Melbourne, 20 April 1998, lot 19
Private collection, United Kingdom
EXHIBITED
William Strutt, Art Gallery of New South Wales, Sydney, February – March 1981, cat. 18 (label attached verso)
Joseph Brown Gallery, Melbourne, 1 – 14 September 1982, cat. 13 (illus.)
LITERATURE
Curnow, H., The Life and Art of William Strutt 1825-1915, Martinborough, New Zealand, 1980, cat. 91, pl. 39, p. 160 (illus.)
Curnow, H., William Strutt, Australian Gallery Directors Council in conjunction with Art Gallery of New South Wales, Sydney, 1980, cat. 18, p. 73 (illus.)
CATALOGUE TEXT
Among the several towering figures of late colonial art including his friend Eugène von Guérard, William Strutt is best remembered for his grand canvases recording epic events and celebrating heroic figures from the pages of Australian history of which he was such a brilliant witness. Black Thursday, February 6th. 1851, 1864 (La Trobe Collection, State Library of Victoria, Melbourne), the most memorable of his history paintings, presents a dramatic panorama of that fateful day in February 1851 when bushfires engulfed Victoria. Bushrangers, Victoria, Australia, 1852, 1887 (The University of Melbourne Art Collection, Russell Grimwade Bequest) was another to capture the public imagination. As subjects much celebrated in later Australian art, Strutt also recorded life on the Ballarat goldfields, the Burke and Wills inland exploring expedition, and such pioneering hardships as children lost in the bush. His mastery of realism, rendered with meticulous detail, appealed to the sensibilities of his time and continues today to provide enriching insights and visual pleasure for the historian and connoisseur alike.

Another important dimension of Strutt’s work is his extraordinary feeling for and depiction of animals. Even his striking 1862 Portrait of Robert O’Hara Burke (private collection) includes an engaging camel; and the magnificent watercolour, The Haunt of the Kangaroos, 1885 (Rex Nan Kivell Collection, National Library of Australia, Canberra) offers unparalleled images of one of the icons of this country. Curiously, Strutt painted them from studies made at the London Zoo after his return to England.1 Of all, his horses are the finest. In Black Thursday, February 6th. 1851, the avalanche of fleeing creatures centres on the white steed, the noblest of figures. And heartfelt compassion is captured in the watercolour Martyrs of the Road, 1851 (Victoria the Golden, Victorian Parliamentary Library, Melbourne). Of horses seen on the rush to the goldfields of Ballarat, Strutt wrote: ‘the poor beasts of burden willingly pulled at their heavy loads till, when utterly exhausted they could pull no longer, just sunk down and died on the road…’.2

Numerous animals inhabit Strutt’s oeuvre, their different kinds matched by his range of subjects. Patriotic lions populate the allegorical Sentinels of Empire, 1901 (Tasmanian Museum and Art Gallery, Hobart). And goats, pigs, dogs (especially puppies), enliven genre paintings and those drawn from seventeenth and eighteenth-century subjects. They are invariably spiced with satire and a wry humour, as in Spring Cleaning, 1892 (sold by Deutscher and Hackett, 13 September 2016, lot 46). In Slack Times, 1883, servile co-workers enjoy a break. The donkey, however, has little respite from his role of beast of burden, patiently bearing the sleeping boy with a look of open-eyed forbearance. Stoicism (an ancient virtue in keeping with the donkey’s long history of servitude) is touched with humour.

Heather Curnow, in her classic study of Strutt, tells us that in early 1882 the artist hired two donkeys from a gypsy for two weeks. In addition to Slack Times, she suggests that studies featuring these animals could have been made for other paintings – After Bank Holiday, 1882, ‘a painting of two donkeys with a circus caravan in the background…; and Let Brotherly Love Continue, which showed two donkeys with a jester, exhibited at Liverpool in 1882’.3 Donkeys accompanied by a jester continue that relationship found in Slack Times, with images further linked by the clever play of light and colour. Again, superb textures enrich the painting’s visual appeal.

1. Curnow, H., The Life and Art of William Strutt 1825-1915, Martinborough, 1980, p. 162
2. Autobiography of William Strutt, 1850-1862, National Library of Australia, Canberra, quoted in Curnow, op. cit., p. 94
3. Curnow, H., op. cit., p. 160

DAVID THOMAS

Fairweather Ianview full entry
Reference: see Deutscher and Hackett catalogue, 10 April, 2019, lot 32:
IAN FAIRWEATHER
(1891 – 1974)
SEA ANEMONES, 1957
gouache on cardboard
95.0 x 71.5 cm
signed with monogram and dated lower right: IF 57
bears inscription on frame verso: ER CUPPAIDGE
PROVENANCE
Macquarie Galleries, Sydney
Russell Cuppaidge, Brisbane, acquired from the above May 1957
Sotheby’s, Melbourne, 10 April 1993, lot 230
Estate of Kerry Hill AO, Singapore
EXHIBITED
A View of Brisbane Collections, Queensland Art Gallery Society, Brisbane, 9 – 25 March 1979 (lent by Russell Cuppaidge) (label attached verso)
Ian Fairweather Tenth Anniversary Exhibition, Philip Bacon Galleries, Brisbane, 19 May – 14 June 1984, cat. 58 (illus. in exhibition catalogue) (label attached verso)
CATALOGUE TEXT
The singular vision of Ian Fairweather was the result of a varied series of influences and complex personal psychology. Born in Scotland and raised by aunts until the age of ten, he studied at London’s Slade School of Fine Art during the early 1920s, taking classes in Japanese and Chinese language at night. With a restless spirit, he travelled to Canada in 1928 to work as a farm labourer and the following year, sailed to Shanghai, spending several years in China, a country whose culture and history had a profound effect on the development of his art. In Melbourne in 1934 he met Jock Frater and George Bell, and exhibited his work at Cynthia Reed’s gallery in Little Collins Street, soon leaving again for the Philippines, then China and various destinations in South-East Asia in quick succession. Following his notorious attempt to sail to Timor on a raft made of old aircraft fuel tanks, Fairweather returned to Australia in mid-1953 and later that year, settled on Bribie Island off the coast of southern Queensland.

Fairweather had first visited Bribie Island in 1945 (drifting there by accident in a recently acquired lifeboat) and here, found a place where he could work consistently and relatively undisturbed for the rest of his life. Living in a pair of thatched huts that he had built using materials found in the nearby bush, and painting by the light of a hurricane lamp, his surrounds were primitive, but offered everything that Fairweather needed. While he relished the isolation of the Island and preferred not to engage with the art world in person, Fairweather exhibited regularly at Macquarie Galleries in Sydney – gallery directors Treania Smith and Lucy Swanton sending paper and other materials, as well as typically assigning titles to the paintings he shipped to them1 – and his work was both seen and admired by curators, critics, collectors and fellow artists alike.

Murray Bail has written that the ‘Post-Impressionist calm’ of Fairweather’s paintings from the 1930s and 40s belied the ‘economic and psychological hell’ he experienced during those decades.2 The relative tranquil stability of the late 1950s appears, counterintuitively, to have introduced a notable complexity to his work so that ‘it is the images which become tangled and fragmented; surfaces are unstable; a meditative virtue is made out of chaos’.3 Painted in 1957, Sea Anemones reflects this dynamism in its dense layering of painted lines and solid areas of colour. Numerous female figures stand side by side, searching for sea anemones, the lines describing their heads, limbs, breasts and hair, repeated and overlapped so that the fragmented elements – like the flickering lines of an early animation – combine in our imagination, forming a complete and fully resolved image. Areas of gouache in familiar tones of blue and brown have been applied with a broad brush and contribute to both the graphic and textural richness of the painting; patches of cream and strokes of vivid white allow linework below to show through. There is a strong visual and thematic link between this work and the majestic triptych, Anak Bayan, also dated 1957, which recalls Fairweather’s time in the Philippines and is one of the highlights of the Art Gallery of New South Wales’ collection of his paintings. With his distinctive monogram in the lower right corner, Sea Anemones exemplifies the confidence that distinguished Fairweather’s art during these years, as well as reflecting the tension between representation and the drive towards abstraction that was a constant within his oeuvre: ‘I don’t feel I am a complete abstractionist – I still like – perhaps mistakenly in this age of collectivism – to retain some relic of subjective reality’.4

1. Bail, M., Ian Fairweather, Bay Books, Sydney, 1981, p. 118
Murray Bail confirms however that this title was given by the artist rather than his gallery.
2. ibid., p. 128
3. ibid.
4. The artist quoted in ibid., p. 140

KIRSTY GRANT

Johnstone Henry James (1835 – 1907)view full entry
Reference: see Deutscher and Hackett catalogue, 10 April, 2019, lot 36:
HENRY JAMES JOHNSTONE
(1835 – 1907)
WOOED AND WON, 1874 (ALSO KNOWN AS 'A BUSH ROMANCE’)
oil on canvas
54.0 x 42.0 cm
signed and dated lower left: H. J. Johnstone 1874
signed and inscribed verso: H. J. Johnstone / No. 2
PROVENANCE
Private collection
Leonard Joel, Melbourne, 23 July 1986, lot 96 (as ‘A Bush Romance’)
Christopher Day Gallery, Sydney
Private collection, Sydney
EXHIBITED
Fourth Exhibition, Victorian Academy of Arts, Melbourne, 1874, cat. 38
An Australian Perspective: An Important Collection of Fine Colonial Works and Early 20th Century Paintings 1820 – 1952, Christopher Day Gallery, Sydney, September 1988, cat. 17 (illus. in exhibition catalogue, as ‘A Bush Romance’)
LITERATURE
‘The Victorian Academy of Arts Third Notice’, The Argus, Melbourne, 15 August 1874, p. 5
‘Victorian Artists In London’, The Age, Melbourne, 7 November 1891, p. 14 (as ‘A Pressing Question’)
RELATED WORKS
A Pressing Question, 1874, colour wood engraving, 42.2 × 32.2 cm, in the collection of the National Gallery of Victoria, Melbourne
CATALOGUE TEXT
The depiction of love in the nineteenth-century took a variety of forms, the eager, sentimental and moralistic included. In Wooed and Won, 1874, Henry James Johnstone chose the genre of the bush romance, a slice of contemporary life engaging the anecdotal to the naturalism of figures and landscape. Bathed in the sunny light of Australian optimism, the country gallant woos his maiden fair. Bending ever so slightly, his earnest endeavour is profiled with intent. Right hands link in hope. His left grips a whip, with his still saddled, earlier love, relegated to the background. Rich in metaphors, only one slip rail remains to separate the couple. To the right, branches of two young trees entwine. When shown in the annual exhibition of Victorian Academy of Arts, Melbourne, in October 1874, the reviewer for The Argus declared it: ‘noteworthy on account of the Flemish finish of the drapery, and the ability with which the artist has contrived to make both the persons who figure in this rustic idyll tell the story’.1

Most of the exhibited works were of the Australian landscape. The very occasional subject picture included Impudence by Henry Rielly and His First Model by George Sutherland, an amusing domestic scene of a young boy busily drawing the doll proudly held by his sister. Significantly, it was one of only three works selected by The Illustrated Australian News to illustrate the accompanying review, which observed: ‘it would give greater interest to the exhibition if a few more of our artists would devote themselves to figure subjects’.2 Johnstone continued his theme of love in the landscape the following year in The Dipping Place, Dandenong Creek.3

Enticed by gold to Australia in 1853, the flamboyant Johnstone returned to Melbourne, soon rising in prominence as both a photographer and painter. Exhibiting with the Victorian Academy of Arts from 1872, by 1875 he was singled out as ‘decidedly a rising artist, and if it be considered how comparatively short is the time since he first began to exhibit, it must be conceded that he made great progress. Mr. Johnstone combines delicacy of touch with a true eye for colour, and it is very felicitous in reproducing the characteristics of the Australian scenery’.4 Johnstone, together with Eugène von Guérard, Louis Buvelot, S. T. Gill and others was represented in the collection of the great benefactor of the National Gallery of Victoria, Alfred Felton. Johnstone’s extraordinarily popular oil painting, Evening Shadows, Backwater of the Murray, South Australia, 1880, was the first work acquired by the Art Gallery of South Australia.

1. ‘The Victorian Academy of Arts. Third Notice’, The Argus, Melbourne, 15 August 1874, p. 5
2. ‘Victorian Academy of Arts Exhibition’, The Illustrated News for Home Readers, Melbourne, 7 September 1874, pp. 152 (illus.), 154
3. The Fifth Exhibition of the Victorian Academy of Arts, Melbourne, 1875, cat. 29
4. Victorian Intercolonial Exhibition 1875, Preparatory to the Philadelphia Exhibition 1876, Official Catalogue of Exhibits, Melbourne, September 1875, ‘Fine Arts’, pp. 208 – 9

DAVID THOMAS
Sutherland Ruth view full entry
Reference: see SUTHERLAND, Jane ; SUTHERLAND, Ruth ; SUTHERLAND, Margaret
Sutherland - Catalogue of 51 works by Jane, Ruth and Margaret Sutherland, essay by Stuart Rosewarne.

Publishing details: Melbourne : Victoria College of the Arts, 1977. Quarto, wrappers, pp. 12, 4 illustrations.
Sutherland Margaretview full entry
Reference: see SUTHERLAND, Jane ; SUTHERLAND, Ruth ; SUTHERLAND, Margaret
Sutherland - Catalogue of 51 works by Jane, Ruth and Margaret Sutherland, essay by Stuart Rosewarne.

Publishing details: Melbourne : Victoria College of the Arts, 1977. Quarto, wrappers, pp. 12, 4 illustrations.
trench art chapter onview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
war artview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
posters war view full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Gallipoli view full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Simmons C E posterview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Wall Clifford posterview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Lumley Savile posterview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Keene Norman posterview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Collins William Wiche landing Anzac Cove view full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Light Ernest W modellerview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Bush Charlesview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Adamson Edwin G photographsview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Cranstone Edward L photographsview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Moore Alan paintingsview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Hinder Frank view full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Eseli James 2 illustrationsview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Fabian Erwin paintingsview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Fowles Alexandra embroideryview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Milson Florence photographview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Mallard Henry photographview full entry
Reference: see Australian artists and the war : follow the flag 1914-45, by Kirsty Grant and Susan van Wyk, with contributions by Alisa Bunbury, Kate Darian-Smith, Amanda Dunsmore, Ted Gott, Petra Kayser and Elena Taylor. ‘When the First World War began in August 1914, Australia responded quickly and patriotically, promising to support Great Britain with an initial commitment of 20,000 soldiers. Follow the Flag: Australian Artists and War 1914–45 marks the centenary of this pivotal moment in modern Australian history. Bringing together paintings, sculpture, works on paper, photographs and decorative arts, including objects made in the trenches, Follow the Flag reveals the experiences of Australians actively engaged in the armed forces and of those at home. This authoritative publication surveys the work of professional artists, official war artists and untrained amateur and soldier artists, reflecting the diversity of attitudes and experiences of this turbulent time -- Publisher.
Notes Catalogue of an exhibition held at Ian Potter Centre, NGV Australia, Federation Square, Melbourne, 24 April - 16 August 2015.’
Publishing details: Melbourne : Council of Trustees of the National Gallery of Victoria, 2015. Quarto, wrappers in illustrated jacket, pp. 134, pictures and illustrations throughout.
Quilty Benview full entry
Reference: Ben Quilty. By Ben Quilty. A celebration of the last two decades of work from Australian artist Ben Quilty, to coincide with a major retrospective of his work. With a Foreword by Richard Flanagan. [’Ben Quilty has worked across a range of media including drawing, photography, sculpture, installation and film. His works often respond to social and political events, from the current global refugee crisis to the complex social history of Australia; he is constantly critiquing notions of identity, patriotism and male rites of passage.
Quilty is a past winner of the Archibald Prize for portraiture, the National Self-portrait prize, and the Doug Moran National Portrait Prize. This rich and comprehensive collection of his work from the past two decades is accompanied by essays from Lisa Slade and Justin Paton.’]
Publishing details: Penguin, Lantern, 2019, 352 pages.
Ref: 1000
Muir Alexview full entry
Reference: Alex Muir (1924 – 1991) – the 2019 Exhibition, Artarmon Galleries. ‘It is our pleasure to invite you, your friends and associates to the Alex Muir studio sale preview exhibition. Our association with the artist Alex Muir began when his brother, Dr William Muir, came to the gallery requesting an exhibition in June 1992. The first exhibition was opened by The Hon. Neville Wran Ac, QC in August 1992 and the gallery has held the remainder of works since then. According to one of our artists, Daniel Pata, after WWI Australia seemed to make more provision for the Arts to be developed in the wider Australian community: even giving communities the structure to install as well as tax benefits. It was true that Alex Muir, also a war veteran, saw training in the Arts as a means of repatriation.

First European artists saw Australia as a botanical garden, indigenous artists mapped their environment with colour symbols and Alex Muir began painting traditional scenes. However with the influence of his European teachers and others like Ralph Balson he moved into more physiological colour of mechanical and organic modes.

It is not surprising then to see the work in this exhibition taking focus on the complex colour of green. We could theorise this was the result of years of Alex’s industrious research into the cultivation of the blue spruce. But after a traumatic turn of events experienced in his plant propagation he became disillusioned and concentrated on his passion of working out his artistic nature in unique icons of colour.

This exhibition traces Muir’s development from drawing to painting, from realism to abstraction and an acrylic or oil painting sometimes morphs into the richness of pure pastel. This of course is understood by our contemporary clientele who live in a society enjoying many different modes of colour and design in the Arts and in, dare we say, Politics too.

All works from the studio are for sale until sold: prices start from $80.’

Publishing details: Artarmon Galleries, 2019
Ref: 1000
Sainthill Loudonview full entry
Reference: See National Gallery of Australia archive: MS 11 - Papers of Loudon Sainthill
• Administrative Information
• Biographical Note
• Associated Content
• Series List and Description
• Box/Folder Description

The collection comprises programmes, photographs, ephemera, correspondence and papers that had been retained by Loudon Sainthill and Harry Tatlock Miller. They are arranged according to Sainthill’s original order of source and/or date.
Keywords
Ballets Russes, Monte Carlo Russian Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet
Key Names
Loudon Sainthill, Harry Tatlock Miller, Rex de Charembac Nan Kivell, Colonel W. de Basil.
Provenance
During 1988 and 1989 James Mollison, then Director of the Australian National Gallery, corresponded and met with Harry Tatlock Miller, a close associate of Loudon Sainthill, regarding the Sainthill papers in his possession. These were donated to the then named Australian National Gallery by Harry Tatlock Miller on 6 February 1989.
Preferred Citation Note
MS 11 Papers of Loudon Sainthill [Box number: folder number], National Gallery of Australia Research Library Archives, National Gallery of Australia, Canberra.

Biographical Note
Loudon Sainthill was born in 1919, Hobart, Tasmania, and spent his early school years in Melbourne. Sainthill was greatly influenced by the theatre after seeing performances of Colonel W. de Basil’s Monte Carlo Russian Ballet in the late 1930s. He was drawn to the colour and settings used on the stage, which was reflected in his first exhibition of paintings in Melbourne in 1939. That same year he travelled with the ballet company to London where Rex de Charembac Nan Kivell, director of the Redfern Gallery, successfully exhibited his paintings. Sainthill was mainly self-educated; his art studies at the Art School of the Melbourne Technical College lasted for a relatively short time.

After befriending Colonel W. de Basil and many of the dancers in the company, Sainthill was approached with a commission to design Serge Lifar’s Icare. The commission was, however, eventually secured for Sidney Nolan by Lifar and Peter Bellew. Sainthill did succeed in obtaining a commission for Nina Verchinina’s Etude, although Sainthill’s designs were not used for performances.
Following the completion of the 1939-1940 tour of the Original Ballets Russes, Sainthill travelled with the company to London. Returning to Australia in the early 1940’s Loudon served as a private in the Royal Australian Army Medical Corps (RAAMC), began exhibiting at Macquarie Galleries, Sydney, and became a member of the Merioola Group an artists’ colony at Merioola. During 1941 Sainthill received a series of commissions from Hélène Kirsova to create costumes and set designs for the Kirsova Ballet, including A Dream – and a Fairy Tale, Faust, Les Matelots, and Vieux Paris. These designs are now held by the National Gallery of Australia (NGA).
In 1945 Sainthill provided a large suite of costume designs for the Art Gallery of NSW exhibition A History of Costume from 4000 B.C. to 1945 A.D., which were subsequently purchased, by public subscription, for the AGNSW. During the 1947-1949 Ballet Rambert dance company’s Australian tour, Sainthill collaborated with other artists on producing printed material for the company.
For further online resources relating to Sainthill’s printed work for the Ballet Rambert tour see the National Library of Australia's online exhibition Dance people dance, 'Artistic impact (Item 7)'.
In 1949 Sainthill returned to London, where he undertook his first professional engagement as a costume and set designer for a production of The Tempest, at the Shakespeare Memorial Theatre, Stratford-on-Avon. This 1951 production was directed by Michael Benthall and reprised in 1952 and 1953. Sainthill designed three further productions in 1951, including Coppelia for Sadler’s Wells Ballet, London. This was followed by Le Coq d’or (1954) for the Royal Opera House, Covent Garden, directed by Robert Helpmann, and The Sleeping Princess ballet sequence for the Korda Film production of The Man who Loved Redheads (1954).
Over the course of his career Sainthill designed sets and costumes for almost fifty productions for opera, ballet, film, revue, pantomime, and musical performances in England and the USA. He died in 1969 in London.

Kirsova Heleneview full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Bellew Peter and Louson Sainthill view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Sagar Peggy view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Dupain Max view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Cato Jack view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Ballets Russesview full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Sainthill Loudon view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Tchinarova Tamara view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Raisse Kouznetsova view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Kingston Amie view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Danciger Alice view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Cardamatis Wolfgang view full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Hall Hugh Pview full entry
Reference: see archive in the National Gallery of Australia which has references to various Australian artists. and includes photographs, posters, invitations, dance magazines, reviews, music scores, programmes, press clippings and other related ephemera. Mostly paper-based material relating to the establishment of a ballet school in Sydney and by 1941, the Kirsova Ballet.
Keywords
Monte Carlo Russian Ballet, Kirsova Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet, J.C. Williamson Magazine
Key Names
Hélène Kirsova, Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Tamara Tchinarova, Raisse Kouznetsova, Rachel Cameron, Strelsa Heckelman, Paul Hammond, Peggy Sager, Amie Kingston, Alice Danciger, Wolfgang Cardamatis and Hugh P. Hall.
Biographical Note
Hélène Kirsova returned to Australia early in 1938 and married the Danish Vice-Consul in Sydney, Erik Fischer. By 1940 she had established a ballet school in Sydney and by 1941 the Kirsova Ballet, the first professional ballet company in Australia. She employed several dancers who had stayed in Australia following one or other of the Ballets Russes tours to Australia, including Tamara Tchinarova and Polish dancers Raisse Kouznetsova, Valery Shaievsky and Edward Sobishevsy. She also gave work to some young Australian dancers who would later have significant careers in Australia including Rachel Cameron, Strelsa Heckelman, Paul Hammond and Peggy Sager.
Kirsova was an important patron of Australian artists, composers and set designers. She commissioned designs for her original ballets from artists such as Loudon Sainthill, Amie Kingston, Alice Danciger and Wolfgang Cardamatis. After the demise of the Kirsova Ballet in 1944 Kirsova kept her school running for a few more years before retiring to Europe in the late 1940s.
The papers hold a significant number of black and white publicity photographs, including some taken by Max Dupain, providing a visual history of the Kirsova Ballet. Some of these are annotated, including names for the dancers. Other material includes theatre programmes, invitations, press clippings and dance magazines collected by Kirsova. These give some insight into her taste and interests in a collection that is quite limited in terms of personal content. There are no letters or diaries to reveal anything about Kirsova’s personality. However the ephemera and magazines in the archive were those chosen and read by Kirsova and reveal something about the artistic and cultural circles in which she moved.

Associated Content
Subject
Australian art, Ballet Russes
Relationship to the National Gallery of Australia Research Library
The Research Library holds art and artist files for Peter Bellew, Max Dupain, Jack Cato, Ballets Russes, Loudon Sainthill, Amie Kingston, Alice Danciger, David Jones Art Gallery and the Ballet Russes.
Other archive collections held in the Research Library collection that relate to the papers of Hélène Kirsova include The papers of Loudon Sainthill, Peter Bellew, Paul Jellard and Costumes and decors of the Diaghilev and De Basil Ballets.
Relationship to the National Gallery of Australia Collection
The papers were part of a larger archive of ballet material in the Australian art collection at the National Gallery of Australia. These include set designs for the stage production Lola Montez (pen and ink, brush and coloured ink on paper) by Donald Friend, posters and costume designs created by Loudon Sainthill including those for the ballet Faust and set designs by Wolfgang Cardamatis and Amy Kingston. These artists are well represented in the Australian art collection.
The NGA also has a collection of costumes from the Ballets Russes which formed part of the 1999 exhibition From Russia with Love: Costumes for the Ballets Russes 1909–1933. Most of these costumes date from an earlier period of the ballet between 1909 and 1933. Hélène Kirsova was a founding member of the Ballets Russes de Monte Carlo in 1932 and the photographs in the collection cover the mid-1930s to1940s.
Relationship to Other Cultural Institutions
The National Library of Australia’s search service Trove has comprehensive entries for Hélène Kirsova, Ballets Russes Australian Tours, Faust, L’amour sorcier and La Carnaval. In addition, the Australia Dancing website, which was created by the National Library of Australia, can now be accessed through Trove.
The National Library has put together a finding aid of all its Australian Performing Arts Programs and Ephemera (PROMPT) material relating to Kirsova. It also holds oral histories of people who talk about Kirsova including Paul Hammond, Peggy Sager and Tamara Tchinarova.
The State Library of New South Wales holds a Max Dupain archive of photographs and photonegatives. Very little material can be found elsewhere in Australia relating to Hélène Kirsova and her dance company.

Nolan Sidneyview full entry
Reference: See National Gallery of Australia archive: MS 11 - Papers of Loudon Sainthill
• Administrative Information
• Biographical Note
• Associated Content
• Series List and Description
• Box/Folder Description

The collection comprises programmes, photographs, ephemera, correspondence and papers that had been retained by Loudon Sainthill and Harry Tatlock Miller. They are arranged according to Sainthill’s original order of source and/or date.
Keywords
Ballets Russes, Monte Carlo Russian Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet
Key Names
Loudon Sainthill, Harry Tatlock Miller, Rex de Charembac Nan Kivell, Colonel W. de Basil.
Provenance
During 1988 and 1989 James Mollison, then Director of the Australian National Gallery, corresponded and met with Harry Tatlock Miller, a close associate of Loudon Sainthill, regarding the Sainthill papers in his possession. These were donated to the then named Australian National Gallery by Harry Tatlock Miller on 6 February 1989.
Preferred Citation Note
MS 11 Papers of Loudon Sainthill [Box number: folder number], National Gallery of Australia Research Library Archives, National Gallery of Australia, Canberra.

Biographical Note
Loudon Sainthill was born in 1919, Hobart, Tasmania, and spent his early school years in Melbourne. Sainthill was greatly influenced by the theatre after seeing performances of Colonel W. de Basil’s Monte Carlo Russian Ballet in the late 1930s. He was drawn to the colour and settings used on the stage, which was reflected in his first exhibition of paintings in Melbourne in 1939. That same year he travelled with the ballet company to London where Rex de Charembac Nan Kivell, director of the Redfern Gallery, successfully exhibited his paintings. Sainthill was mainly self-educated; his art studies at the Art School of the Melbourne Technical College lasted for a relatively short time.

After befriending Colonel W. de Basil and many of the dancers in the company, Sainthill was approached with a commission to design Serge Lifar’s Icare. The commission was, however, eventually secured for Sidney Nolan by Lifar and Peter Bellew. Sainthill did succeed in obtaining a commission for Nina Verchinina’s Etude, although Sainthill’s designs were not used for performances.
Following the completion of the 1939-1940 tour of the Original Ballets Russes, Sainthill travelled with the company to London. Returning to Australia in the early 1940’s Loudon served as a private in the Royal Australian Army Medical Corps (RAAMC), began exhibiting at Macquarie Galleries, Sydney, and became a member of the Merioola Group an artists’ colony at Merioola. During 1941 Sainthill received a series of commissions from Hélène Kirsova to create costumes and set designs for the Kirsova Ballet, including A Dream – and a Fairy Tale, Faust, Les Matelots, and Vieux Paris. These designs are now held by the National Gallery of Australia (NGA).
In 1945 Sainthill provided a large suite of costume designs for the Art Gallery of NSW exhibition A History of Costume from 4000 B.C. to 1945 A.D., which were subsequently purchased, by public subscription, for the AGNSW. During the 1947-1949 Ballet Rambert dance company’s Australian tour, Sainthill collaborated with other artists on producing printed material for the company.
For further online resources relating to Sainthill’s printed work for the Ballet Rambert tour see the National Library of Australia's online exhibition Dance people dance, 'Artistic impact (Item 7)'.
In 1949 Sainthill returned to London, where he undertook his first professional engagement as a costume and set designer for a production of The Tempest, at the Shakespeare Memorial Theatre, Stratford-on-Avon. This 1951 production was directed by Michael Benthall and reprised in 1952 and 1953. Sainthill designed three further productions in 1951, including Coppelia for Sadler’s Wells Ballet, London. This was followed by Le Coq d’or (1954) for the Royal Opera House, Covent Garden, directed by Robert Helpmann, and The Sleeping Princess ballet sequence for the Korda Film production of The Man who Loved Redheads (1954).
Over the course of his career Sainthill designed sets and costumes for almost fifty productions for opera, ballet, film, revue, pantomime, and musical performances in England and the USA. He died in 1969 in London.

Conder Charlesview full entry
Reference: Charles Conder. 55 Plates (9 colour, 15 sepia, 31 b/w). Album of 55 plates from the Sydney Smith Library. Issued without title page or print details.
Publishing details: Smith, 1934 [offered by Barter Books, UK]
Ref: 1000
Conder Charlesview full entry
Reference: Charles Conder 1868 - 1909 by David Rodgers, exhibition catalogue, 1967. [’An illustrated catalogue which accompanied a major exhibition of work by the painter and lithographer Charles Conder (1868-1909). It included Australian landscapes, painted after his move to the country at the age of 17.’]

Publishing details: Graves Art Gallery, Sheffield., 1967.
stapled paperback, large 8vo, 25pp, illustrated,
Ref: 1009
Brackenreg John 1905 - 1986view full entry
Reference: see lot 354, John Brackenreg 1905 - 1986. Portrait of Mick Blundell  Oil on canvas laid to board 50 x 40cm (19.75 x 15.75in) Footnote: Brackenreg trained at the Julian Ashton School, Sydney. His friendships with older artists led him to being the conduit directing major Australian works into public collections. Brackenreg acquired Albert Namatjira's copyright. He was an art dealer from 1955 to circa 1986 at Artarmon Galleries in New South Wales.

Chiswick Auctions
October 3, 2018, 11:00 AM BST
London, United Kingdom

Cumming Roseview full entry
Reference: see Hyde Park Country Auctions, NY, USA, Sun, Nov 11, 2018 4:00, lots 600-606?, Rose Cumming (NY, 1887-1968 - Australian/American - Arrived in NY City in 1917 and became an important Decorator and Interior Designer during the early to mid 20th century). Including an original W/C Chinoiserie wall paper mural, likely British in the Chinese export style, late 19th to early 20th century. Depicting birds, butterflies and bamboo trees - entitled on reverse "Bamboo". Two rolls of 10'L x 39 5/8"W - to be hung vertically on wall. Some staining and edge wear but overall very good condition. Sold together with a non-matching roll of W/C wall paper also depicting a bamboo tree with bird, probably mid to late 19th century - paper over canvas - some tears and losses - see photos - 8' 10"L x 2'.
Cumming Roseview full entry
Reference: From Wikipedia: Rose Cumming

Rose Cumming (1887[1]-March 21, 1968[2]) was a flamboyant and eccentric interior decorator whose career was based in New York.[3]
Rose Cumming was born on an Australian sheep station in New South Wales.[4][5] In 1917 she came to New York with her sister, silent-screen actress Dorothy Cumming.[5]
Following advice of Frank Crowninshield, editor of Vanity Fair, Cumming decided to become a decorator.[6] She worked for Mary Buehl before opening her own shop in 1921.[7] Cumming's shop was her decorating office and a retail shop for antiques and fabrics.[5] She put her best furniture in the window of the shop left the lights on at night, which nobody had ever done.[5] Her shop sold Bromo-Seltzer bottles and empty candy boxes alongside fine French furniture. As she explained, “It’s all salesmanship."[8]
She was known for chinoiserie,[8] displayed in the Chinese wallpapers of her often-photographed drawing room, and for baroque and rococo Venetian, South German and Austrian furniture,[5] at a time when conservative New York tastes ran to Louis XV and English Georgian furnishings. Her color sense favored saturated, dramatic tones. She brought chintz to informal dressing rooms and bedrooms, inaugurated the vogue for smoked mirrors veined with gold and extended her love of reflective and lacquered surfaces to lacquered walls, satin upholstery and the metallic wallpapers she invented.
In Cumming's own town house, the living room had early-eighteenth-century hand-painted Chinese wallpaper with a silvery background and Louis XV furniture. Conventional lamps were one of her pet hates, so black candles lighted the room.[6] At the top of her townhouse was the infamous “Ugly Room” filled with predatory images of snakes, vultures, boars and monkeys.[8]
Her clients included Marlene Dietrich, Mary Pickford,[5] and Norma Shearer.[6]
She designed and printed fabrics. Her sister Eileen Cecil carried on the fabric business after her death in 1968. Later the business was sold to Dessin Fournir.[5] Her great-niece Sarah Cumming Cecil carried on the atelier "Rose Cumming Design", now based in Portland, ME, presenting a stripped-down simplified style.[9]
Fischer Eugen (1874-1967)view full entry
Reference: see JESCHKE, VAN VLIET BUCH- UND KUNSTAUKTIONEN Berlin, GMBH auction 7 Dec, 2018, lot 259: Ethnologische Sammlung von Eugen Fischer und Hermann Klaatsch. Mit OPhotographien. 1905-1933. Eugen Fischer (1874-1967) was a German physician, anthropologist and "racial hygienist" who was director of the Berlin Kaiser Wilhelm Institute for Anthropology, Human Genetics and Eugenics between 1927 and 1942 and thus a leading supporter of Nazi racial laws. The German physician and anthropologist Hermann Klaatsch (1863-1916) spent three years (1904-06) on the Australian continent and examined the questions of the process of the Incarnation on the example of the Aborigines. - Contains: 11 photographs, mounted on Kt. Panels of the indigenous people Khoisan. By Eugen Fischer, 1908. Gelatin silver prints, approx. 6.5 x 10 cm. - 14 photographs of Hermann Klaatsch with pictures of the Aborigines, the indigenous people of Australia. 1905/06. Gelatin silver prints, approx. 9 x 5.5 cm to 14 x 12 cm. - Documentation of a "crossbreeding" German-Japanese 1933 with OPhotographies, locks of hair, fingerprints and experience. - 31 OPhotopostcards for the 35th Assembly of the Anatomical Society in Freiburg. 1926. Watched are caricatures of the participants in relation to their respective field of work, i.a. by Eugen Fischer, Adolf Dabelow, Carl M. Prince, Wilhelm v. Möllendorff, Hans Spemann.
Laws Ruebenview full entry
Reference: see Leski Auctions, AUSTRALIAN & COLONIAL Auction: Sunday 2 December 12.00pm AEDT, lot 64: Three Exhibition medals: 1930, 1931 and 1932, awarded to "Rueben Laws, Emobssed and Sandblasted Glass" together with a "Lounge" sign example of Laws' work,
the sign is 48cm across
Retter Michaelview full entry
Reference: see Leski Auctions, AUSTRALIAN & COLONIAL Auction: Sunday 2 December 12.00pm AEDT, Lot 67
AUSTRALIAN MARQUETRY PANEL BY MICHAEL D. RETTER, SYDNEY, TITLED "CARBEEN EUCALYPTUS TESSELARIS",
Roper Edward 1830-1909view full entry
Reference: see Bonhams, UK, TRAVEL AND EXPLORATION
6 Feb 2019, 13 works, mainly watercolours, including lot 11: Edward Roper (British, 1830-1909)
A collection of works by the artist and
traveller Edward Roper
Lots 4-17
Born in London in 1833, Edward Roper was a writer and painter who is best known for documenting his extensive travels. His family moved to Canada around 1844 and Edward joined them two years later, undertaking the 71-day voyage from London to Montreal as a fifteen year-old. A keen amateur artist, he sketched and painted the early Canadian settlements and much of this body of work is now in the collection of The Archives of Ontario, Canada.
The first gold rush in Australia began in May 1851 and Edward travelled to Victoria to join the hopeful prospectors. His painting Gold diggings, Ararat, now in the collection of the State Library of New South Wales, and the watercolour version included in this sale as lot 17, are fascinating and important records of the period.
In 1856, Edward returned to Canada, and then onto England in 1858 where he married Annie, daughter of James Creasy of Sleaford. In 1859 the family settled in Hamilton, Ontario, where Edward continued to document his surroundings.
Edward and his family moved back to England in 1865 at which point he became manager of the Graphotype Company which introduced a new process of engraving.
1870-1 saw Edward, his wife and daughter travel to Australia on the Newcastle. The trip was commemorated in an album Photographs from nature and from sketches made during a voyage round the world in the ship “Newcastle”: 1870-1871 by Edward Roper (Mitchell Library, State Library of New South Wales, Sydney). Lesser known are his beautiful drawings and watercolours made on this same trip, which now comprise lots 4-10 in this sale. These pictures having been kept in the family collection until now. With each work being dated and giving the details of latitudes and longitudes, these really do give an unprecedented insight into long distance sail travel during the period.
The family returned to England in 1873 on the Thomas Stephens, a trip which is documented in lots 11 and 12; lot 11 being complete with the ticket for their sailing from Melbourne to London. It is at this point that Edward decided to turn his lifelong passion for recording the world around him into a profession, going to Paris to study art.
He would then go on to enjoy a successful career as a professional artist and writer, publishing books of his travels in Canada and frequently contributing to the Boys Own Paper and the London Illustrated News up until his death in 1909.

For example:
lot 11, On board the Thomas Stephens on its journey from Melbourne to London, 1873
signed, dated and inscribed 'ERoper on board LAT 83---/MAY 17th 1873' (lower left), inscribed 'Onboard Ship "Thomas Stephens"/off Cape Horn April 1873' (on the mount)
watercolour and bodycolour with collage
31 x 47cm (12 3/16 x 18 1/2in). (2)
FOOTNOTES: Please note that this lot is accompanied by Roper and his family's ticket aboard the Thomas Stephens in 1873; the same trip, from Melbourne to London, in which this work was created.
Provenance: Through the artist's family.
Green Josephview full entry
Reference: see TENNANTS AUCTIONEERS, UK, 15 March, 2019, lot 132: Green, Joseph Views taken on a Voyage from England to New South Wales and Van Dieman's Land from thence Homewards via Bombay, 1829. Oblong 8vo, leather-backed marbled boards; 13 leaves of pencil sketches, ink washes and watercolours. Green produced this collection of drawings and sketches for his cousin, Samuel ?Farmer, 'who used to be fond of drawing', according to the inscription on the upper pastedown. The drawings comprise three from Van Diemen's Land; three from New South Wales; one of the Back Bay of Trincomalee; two of India; three of St Helena; and one of France. They especially show coastal views of bays, forts and harbours, but include Napoleon's house and tomb and Walker's Hotel in Paramatta [sic] (presumably Charles Walker's Red Cow).. Binding worn, pages loosely attached in places, some foxing etc but very good.
James Louisview full entry
Reference: see Cheffins auction, UK, 21.3.19, lot 139: Louis James (Australian, 1920-1996) Boy with Dog signed and dated 'Louis James 48' (lower left) oil on board 34.50 x 44cm (13 x 17in)
Other Notes: An Australian by birth, Louis James joined the Royal South Australian Society of Artists during World War II and gained national renown in the wake of his first solo exhibition at the John Martin's Gallery, Adelaide. Following the war, James settled in London and became a member of the Artists International Association. He was notably influenced by the Suffolk-born painter, Alan Reynolds, regularly exhibited works alongside the London Group, and had a number of exhibitions at the Redfern Gallery. A major retrospective of his work was held at the Bonython-Meadmore Gallery in Adelaide, and his work is now part of the permanent collection at the Tate Gallery.
Robinson Peter Lyell b.1962view full entry
Reference: see March Estates Auction
by New Orleans Auction Galleries
March 24, 2019, lot 797: Description: Peter Lyell Robinson
(Australian/British, b. 1962)

"Olympia", 1989

patinated bronze
incised signature, numbered "1/9", and dated along proper right thigh, now on a specially-made tiered wooden base.
overall h. 26", w. 48", d. 15"

Provenance: Successions of Lois Chalona Hawkins and H. Lloyd Hawkins, Jr., New Orleans, Louisiana.

Notes: Peter Robinson's sculptures are expressionistic explorations of the female form. Employing the uncompromising materials of bronze and stone, he reduces his figures to their essential, most easily recognizable elements. The resulting works reveal a sense of strength and gravitas. Robinson has accepted commissions from such illustrious institutions as the British Museum, London and is s a member of the prestigious Royal Society of British Sculptors, having been elected to that august association in 1988.

Also at New Orleans Auction Galleries
April 11, 2021, lot 154
Artahview full entry
Reference: the name used by bird artist Violet Bartlett (who see)
Rebels & Precursorsview full entry
Reference: see Rebels & Precursors - The Revolutionsary Years of Australian Art
Publishing details: Penguin Books Australia, 1981, hc
Artists & Designer/Makers Of Australia: Artfile, A Source Book Of Australian Contemporary Artistsview full entry
Reference: see Artfile. Artists & Designer/Makers Of Australia: Artfile, A Source Book Of Australian Contemporary Artists, Lockwood, Ken (ed), [’This book has sections on paintings and works on paper; sculpture, architectural and environmental installations; Aboriginal art; studio ceramics; glass art, design & making; textile & fibre arts; wood works & studio furniture; metal, mixed media & presentation objets d'art; commercial galleries, dealers & consultants; cultural representative & promotional organisations; NAVA gallery directory & index. It has essays on most of these media.’]
Publishing details: Craft Arts International, Sydney 1992, 1992. 462pp, 900 colour illusts, hardback & dustwrapper
Olley Margaretview full entry
Reference: Margaret Olley: Painter Peer Mentor Muse, by Renee Porter. Catalogue for an exhibition celebrating Olley's sixty year career as an artist and mentor featuring works by the artist, her peers and the artists she influenced and encouraged. Biographical essay bibliography and list of works.

Publishing details: National trust SH Irvin Gallery Sydney 2017, 2017. 21 x 30cm, 118pp, colour ilust, softcover,
Olley Margaretview full entry
Reference: Margaret Olley by Barry Pearce, foreword by Edmund Capon. [’Margaret Hannah Olley AC (24 June 1923 - 26 July 2011) was an Australian painter. She was the subject of more than 90 solo exhibitions. Margaret Olley was born in Lismore, New South Wales. She attended Somerville House in Brisbane during her high school years. She was so focused on art that she dropped one French class in order to take another art lesson. Her work concentrated on still life. In 1997 a major retrospective of her work was organized by the Art Gallery of New South Wales. She received the inaugural Mosman Art Prize in 1947. Olley was twice the subject of an Archibald Prize winning painting; the first by William Dobell in 1948 and the other by Ben Quilty in 2011. She was also the subject of paintings by many of her artist friends, including Russell Drysdale. On 10 June 1991, in the Queen's Birthday Honours list, Olley was made a Member of the Order of Australia 'for service as an artist and to the promotion of art'. On 12 June 2006, she was awarded Australia's highest civilian honour, the Companion of the Order, 'for service as one of Australia's most distinguished artists, for support and philanthropy to the visual and performing arts, and for encouragement of young and emerging artists'. In 2006, Olley was awarded the degree Doctor of Fine Arts honoris causa by the University of Newcastle. On 13 July 2006 she donated more works to the Art Gallery of New South Wales; her donations included more than 130 works worth $7 million. Olley died at her home in Paddington in July 2011, aged 88. She never married and had no children.’]
Publishing details: Roseville, NSW : The Beagle Press, 2017, 264 pages : illustrations (chiefly colour), portraits. [2nd edition of the 2012 edition?]
Ref: 1009
Olley Margaretview full entry
Reference: It's all about the light : works by Margaret Olley from public collections. Essay by Christine France. Catalogue of an exhibition held at Tweed River Art Gallery, Murwillumbah, NSW, 18 January - 14 April, 2013.


Publishing details: Tweed River Art Gallery, 2013, 50pp
Olley Margaretview full entry
Reference: Margaret Olley Art Centre. Educational resource about Margaret Olley and the Margaret Olley Art Centre located at the Tweed Regional Gallery Murwillumbah.
Notes

Publishing details: Tweed Regional Gallery & Margaret Olley Art Centre, 23 pages : illustrations (some colour), portraits (some colour)
Anderson Garryview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Benson W Bview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Bull Knudview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Clinch Robertview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Cogne Francoisview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Coleridge Edwardview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Cooke A Cview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Deutsch Hermanview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Duke Williamview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Fullwood Albert Henryview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Gill Samuel Thomasview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Grant Georgeview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Kelly Terryview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Lindsay Percyview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Litherland Victorview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Mainwaring Geoffreyview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Meadows Jamesview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Niven & Coview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Pringle Berylview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Shaw Evelynview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Smith James (Cook)view full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Cook Smith James view full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
von Guerard Eugeneview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Winkles Henryview full entry
Reference: see Ballarat in pictures - Ballarat Fine Art Gallery, illustrations and photos throughout. Introduction by Gordon Morrison. Works by 24 artists. All illustrated. A comment on each work with some biographical information.
Publishing details: Ballarat: Ballarat Fine Art Gallery, 2006. Quarto, illustrated wrappers, pp. 58,
Nolan Sidneyview full entry
Reference: Inaugural exhibition : the Ned Kelly paintings 1946-47 / by Sidney Nolan. Catalogue of exhibition held at the Heide Park and Art Gallery 13 Nov. 1981 - 19 Feb., 1982.
Publishing details: Heide Park and Art Gallery, 1982, 8-page folding card.
Ref: 138
MGS auction & Grays cataloguesview full entry
Reference: copies held in Scheding Library: 6/85, 7/85, 3/86, 6/86, 9/86, 11/86, 3/87, 9/87, 11/87, 3/88, 6/88, 9/88, 11/88, 6/89, 9/89, 11/89, 3/90, 6/90, 9/90, 3/91, 10/91, 3/92, 3/93, 6/93 (Rothe), 7/93, 9/93, 11/93, 5/94?, 6/94?, 11/94,
West Absalomview full entry
Reference: see MGS auction catalogues, 11 September, 1989, lot 186, The 12 engravings published by West, drawn by John Eyre, engraved by William Preston, With descriptions
Ref: 138
Eyre Johnview full entry
Reference: see MGS auction catalogues, 11 September, 1989, lot 186, The 12 engravings published by West, drawn by John Eyre, engraved by William Preston, With descriptions
Preston Williamview full entry
Reference: see MGS auction catalogues, 11 September, 1989, lot 186, The 12 engravings published by West, drawn by John Eyre, engraved by William Preston, With descriptions
McCaughey John memorial prize 2008view full entry
Reference: The John McCaughey memorial prize : 50 years / [David Hurlston and Barbara Kane].. Includes bibliographical references.
Publishing details: National Gallery of Victoria, c2008., 29 unnumbered pages : illustrations (chiefly color)
Ref: 1009
McCaughey John memorial prize 1979view full entry
Reference: The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Ref: 138
National Gallery Society of Victoriaview full entry
Reference: The National Gallery Society of Victoria : recollection of events 1968-1989 : including a complete list of presidents 1947-1999 and the winners of the John McCaughey Memorial art prize 1957-1997 / by Paton Forster. [to be indexed]
Publishing details: National Gallery Society of Victoria. 2003, 17pp
Ref: 1000
McCaughey John Memorial art prize winners 1957-1997 view full entry
Reference: see The National Gallery Society of Victoria : recollection of events 1968-1989 : including a complete list of presidents 1947-1999 and the winners of the John McCaughey Memorial art prize 1957-1997 / by Paton Forster.
Publishing details: National Gallery Society of Victoria. 2003, 17pp
John McCaughey see McCaughey John Memorial art prizeview full entry
Reference: see McCaughey John Memorial art prize
McCaughey John Memorial art prize catalogues 1957-1997 view full entry
Reference: McCaughey John Memorial art prize catalogues 1957-1997
Publishing details: National Gallery Society of Victoria. 1957-1997
Amor Rickview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Ash Glenview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Aspden Davidview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Ayliffe Janetview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Barrett Jeremyview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Bilu Asherview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Booth Peterview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Boynes Robertview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Bren Jeffreyview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Coburn Johnview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Collins Lynnview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Connor Kevinview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Cress Fredview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Crichton Richardview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Daws Lawrenceview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Dawson Janetview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Dunlop Brianview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Durrant Ivanview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Earle Stephenview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Firth-Smith Johnview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Fitts Davidview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Graham Annview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Fair Fraser Grantview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Grey-Smith Guyview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Hardy Cecil Jview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Hawke Ronaldview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Haynes Georgeview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Hodgkinson Frankview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Howley Johnview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
James Louisview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Johnson Michaelview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Juniper Robertview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Kempf Franzview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Larter Richardview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Leveson Sandraview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Looby Keithview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
McGilchrist Ericaview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Makin Jeffreyview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Majzner Victorview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Matthews Nevilview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Maughan Anneview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Meldrum Jamesview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Millar Ronaldview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Mitelman Allanview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Newmarch Annview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Oldfield Alanview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Partos Paulview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Pilven Nevilleview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Powditch Peterview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Proud Geoffview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Robinson Johnview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Pyett Christopherview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Rankin Davidview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Sandler Johnview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Senbergs Janview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Stokes Constanceview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Taylor Michaelview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Thompson Maxview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Tyndall Peterview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Watson Jennyview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Whisson Kenview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Woodward Margaretview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Watkins Dickview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Zeck Garryview full entry
Reference: see The John McCaughey memorial art prize, 1979 : [exhibition] National Gallery of Victoria, 30 March - 29 April. Includes biographical information on artists exhibiting.
Publishing details: Melbourne : National Gallery of Victoria, 1979. 14pp.
Collection of Australian Art - Rusden Galleryview full entry
Reference: Rusden Gallery, Collection of Australian art exhibition, catalogue. (Cover title: Collection of Australian art, Rusden Gallery, (Upstairs, Stonemans Liquormart).).No biographical information. Includes 30 major works of art.
Publishing details: Castlemaine State Festival, [1986]., 24 pages : chiefly illustrations
Ref: 138
Traill Jessieview full entry
Reference: see 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
Traill Elsie Margaret view full entry
Reference: see 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
Gurdon Norahview full entry
Reference: see 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
Alsop Edithview full entry
Reference: see 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
Lahey Vidaview full entry
Reference: see 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
Lahey Vidaview full entry
Reference: see 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
Art Collection of Janet Clarke Hallview full entry
Reference: see 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
West A c1920 oilview full entry
Reference: see Antipodean Books, NY, March 2019: [Australia; Ship] West, A (artist).
S. S. EASTERN MOON, OIL PAINTING CRUISE MEMENTO, US & AUSTRALASIA LINE.
Ca. 1920. Unusual three dimensional memento with the ship painted on canvas and framed within an imitation wood lifebuoy decorated with the name of the ship and a painting of the American flag to the left and Australian maritime flag to the right.

The painting of the ship is signed A. West in the lower corner, mostly concealed by the frame. The whole encircled in thick twine held in place by the bands of the lifebuoy, with the top portion to be used to hang this clever piece on the wall.

9 inches in diameter, with the painting at the center attached to verso with the original thumb tacks. Some bumping of the surface around the edges, but wonderfully presentable. A fine period piece in very good condition. Item #24736
Price: $275.00

Moore Laurence photograherview full entry
Reference: see Antipodean Books, NY, March 2019:
[Australian Light Horse; W.W.I; Hammerson, Michael photographer; Laurence Moore].
BATTLE OF BEERSHEBA, WWI SINAI AND PALESTINE CAMPAIGN. PHOTOGRAPHS.
Archive of 100 snap shots taken by a British soldier Michael Hammerson in Egypt and Palestine during the aftermath of the Battle of Beersheba, including several of the Australian Light Horse troops, accompanied by an explanatory letter on the images written by Laurence Moore of the Imperial Camel Corps (ICC) ca. 1988.

Moore notably served in the ICC in one of the units which fought with T. E. Lawrence ("Lawrence of Arabia") in the Arab Revolt. He took part in a 1985 BBC documentary on the subject.

Laurence (Rory) Moore (1898-1989) was born and educated in Leeds and served as a Trooper, East Riding Imperial Yeomanry, and as Signal Corporal, Imperial Camel Corps. He served in Egypt and Palestine from 1916-1919.

The Imperial Camel Corps was a camel mounted infantry brigade which became part of the EEF and fought in several battles. Its first units were 4 company sized formations which performed long distance patrols at the Suez Canal and the Sinai Desert. The companies were raised in Egypt in January 1916 from Australians returning from the Gallipoli Campaign. It was disbanded in 1919.

Moore's typed letter, titled "Attempt at identification of Michael Hammerson's photos of Egypt etc", is on Imperial Camel Corps letterhead ( Imperial Camel Corps, Old Comrades Association Talbot Avenue, Leeds). A handwritten note at the top reads, "Notes, c. 1988-89 by Laurence Moore, Veteran, Imperial Camel Corps".

The snap shots have been presented in 12 series. The images have been printed from the originals, probably some time in the late 1920s.

Series 1, titled "In and around Beersheba, 1917" includes:
British troops at graveside of unidentified person; camel resting on sand; Turkish troops; RASC with G.S. wagons; mosque at Beersheba; and elevated guard at POW Camp. Australian Light Horse snap shots show mounted officers with their backs to the camera, guarding a large group of prisoners behind barbed wire (Series 1, No 7, 18 & 19).

Series 2: local people harvesting a field, titled "Cutting corn in (T)eloah"; "Under the prickly pear tree" (3 British soldiers); a narrow gauge locomotive; a camel and calf; troops alongside bombed buildings; local farmer with yoked oxen; bedouins & camels.

Series 3: sports meeting at Rafa, with officers observing the games including polo.

Series 4: troops in small village, including snap shot of men in front of Kodak photo printing shop (the shop sign reads "French photographer. Special for postcard groups. Depot Films, Despatched Everywhere", with another sign "Best Watches Here"; barracks, supply depot, encampment, mosque, and military vehicles including truck alongside horse drawn carriage.

Series 5: broad palm tree lined boulevard with civilians on horseback; religious service held outdoors; dhows on wide river, possibly Port Said.

Series 6: troop snap shots, outside tents at desert encampment.

Series 7: "Cairo (caption reads: "most/all taken with same camera)": British soldiers on camel back viewing Pyramid of Cheops, Giza; stepped pyramid at Sakkara; soldiers relaxing in horse drawn carriage (known as a "gharry" in Egypt); Kasr el Nil (city street snap shot); and the exterior and interior of Sultan Hassan mosque.

Series 8: Egyptian water wheel ("sakkieh"); street scene with bombed buildings:
Series 9: troops in civilian gear. Series 10: Jerusalem street scenes.
Series 11: Palestine; possibly Judean Hills, mostly landscape views of stony hills (one with round tents in foreground), one shot of troops on train at railway siding; walled city seen from the countryside. Series 12: Dhows on the river; railway siding; church facade; building marked "Roman Catholic Church"; 2 interior snaps of mess tent, with flags hung inside; munitions depots; city view with minarets; canteen; unloading supplies at railway siding; river scenes.

The Battle of Beersheba was fought on October 31 1917. The British Empire's Egyptian Expeditionary Force (EEF) captured the Ottoman (Turk) army garrison at Beersheba.

The Battle was part of the wider offensive collectively known as the third Battle of Gaza. The final phase of this all day battle was the famous mounted charge of the 4th Light Horse Brigade. The Brigade broke through the Turkish defenses and seized Beersheba. This enabled EEF forces to break the Ottoman line near Gaza on 7 November and advance into Palestine.

Albumen snap shots 3 1/2 x 2 1/2". The typed Laurence Moore letter 8 1/4 x 11 3/4", typed on two sides. Period folds flattened. Very good condition. Item #24774

Radford Randolphview full entry
Reference: see Antipodean Books, NY, March 2019:
[South Australia] Radford, Randolph.
"SOUTH PARK BOWLING CLUB. SKETCHES". SOUTH AUSTRALIA ALBUM OF CARICATURES OF THE MEMBERS.
Adelaide: Ca. 1931 -1938. Hardcover. 18 amusing color caricature pen and watercolor sketches of personages, including a panorama of the Club itself, drawn by a mature Club member.

The members of the Club are all depicted full length, mostly in profile, wearing their bowling gear, and identified in pencil in the margin, above their heads. They are depicted in different stances, some observing the play and some in mid bowl.

These members are mostly identified by surname only, and include: Harmon, Jarrett, Nicholls, Cook, W. Wright, Martin, Montgomery, Keen, A. Daniel, H. Goode, Arnold, Kelley, Wiltshire, Langdon, J. Deen (dated in pencil 9/9/38), McLaren, Jackett (?), Johns, Bosisto, Hagg[horn?], Donald Nicholson (with thistle, emblem of Scotland painted above), and "J. Knox, Quorn. Veteran's Day 12/3/31. Age 89 years".

There are 3 women bowlers in these sketches, including an unidentified woman about to pitch, dressed all in white, and captioned, "Ladies' Championship, S. A." Another unidentified pipe smoking Club member is shown next to a billiards table, a stick in hand, with the caption "Who said billiards?".

The double page panorama of the Club house shows a lovely well-kept, red roofed Tudor style building adorned with flowering vines, and flanked by tall pine trees and wide green lawns. The last page with a profile head and shoulders pencil portrait of an unidentified woman.

A newspaper article in the Adelaide Chronicle of 1912 refers to the Club in its early days, and its 125 members (Adelaide Chronicle, Sat 26 Oct 1912) and a photograph of the monument of the South Park Bowling Club War Memorial unveiled on the 7th July 1917, locates the memorial commemorating Club members who served in WWI (Unley Road & Thomas Street, Soldiers` Memorial Gardens, Unley). This site is now the Soldiers Memorial Gardens. We do not locate the South Park Bowling Club itself.

Oblong 8vo, 10 x 7". Quarter blue cloth and paper covered boards, with title in ink written on front board. Very good overall. Item #24762
Price: $325.00
Biviano Fabrizio view full entry
Reference: Love Song Dedication, exhibition invite with brief essay.
Publishing details: Arthouse gallery, 2019, 2pp
Ref: 1000
Maguire Timview full entry
Reference: Tim Maguire - Duotones, exhibition invite with 5 illustrations
Publishing details: Martin Brown Contemporary, 2019.
Ref: 1000
Dyer Augustine view full entry
Reference: Narrative of the Expedition of the Australian Squadron to the south-east coast of New Guinea… by Commodore James E. Erskine. Photographic record of early contact
From Hordern House: ‘This rare and sumptuous album, published in very small numbers and illustrated with actual photographs, has been called the first example of Australian photo-journalism: 'the most magnificent example of an Australian work in this genre, the high point in relation to which all other examples can be considered' (Holden). The photographs all date from the 1884 expedition, when Commodore Erskine proclaimed a British protectorate over the south coast of New Guinea. Although unattributed at the time, all images were made by the New South Wales Government Printing Office and were chiefly the work of Augustine Dyer (1873-1923). Principally intended as a visual record, the album shows the importance of the Hood Lagoon area of Papua New Guinea in British and Australian ambitions, with six depictions of the region (effectively a sixth of the finished work).’
Publishing details: Sydney: Thomas Richards, Government Printer, 1885.
Large square folio, with a folding map, three coloured lithograph plates, 33 original silver albumen photographs (283 x 212 mm) mounted on card with printed captions and borders, and two superb panoramas, one of them double-page (240 x 553 mm) and the other on four sheets (242 x 1053 mm); original dark blue grained morocco binding, bevelled edges, spine banded and sides with multiple borders in gilt, front cover lettered in gilt, all edges gilded.
Ref: 1000
Cooper William Tview full entry
Reference: Capturing the essence : techniques for bird artists / William T. Cooper. "Capturing the Essence is a step-by-step personal guide - by one of Australia's greatest living bird artists - to observing, retaining the essential information and then painting birds from field notes and sketches, photographs and other field observations. The author takes the reader through the processes involved in oil painting, watercolour and acrylic techniques, and a piece of art is built up in stages to demonstrate the skills required in each of these media. While the book covers some of the general basics relevant to various kinds of painting of natural history subjects, the concentration is very much on birds. Painting or drawing any subject well, gives great satisfaction. In this book the author hopes to help the reader become competent at drawing and painting birds, or at least to enjoy trying!" -- Cover verso.
Publishing details: CSIRO Publishing, © 2011 
[iv], 124 p. : ill. (some col.) ;
Ref: 1000
Cooper William Tview full entry
Reference: The vision and passion of William T. Cooper : a retrospective : Tableland Regional Gallery / writers : Penny Olsen, Wendy Cooper, Justin Bishop ; editor : Wendy Cooper. This catalogue is published in association with the exhibition, held at Tableland Regional Gallery, Atherton Queensland 1st September-26th November 2017.
Publishing details: Tableland Regional Gallery, [2017] 
47 pages : colour illustrations
Ref: 1000
Cooper William Tview full entry
Reference: Fruits of the Australian tropical rainforest by Wendy Cooper ; illustrated by William T. Cooper

Publishing details: [Clifton Hill], Vic. : Nokomis Publications, c2004
Ref: 1000
Cooper William Tview full entry
Reference: A natural history of Australian parrots : a tribute to William T. Cooper (1934-2015) / Joseph M. Forshaw ; illustrated by William T. Cooper
by Forshaw, Joseph M. (Joseph Michael)

Publishing details: Buxton, Victoria : Nokomis Editions, 2016 , ©2016
Ref: 1000
Cooper William Tview full entry
Reference: Kingfishers and related birds / Joseph M. Forshaw ; illustrated by William T. Cooper
by Forshaw, Joseph M. (Joseph Michael)
-1994
Publishing details: Melbourne : Lansdowne Editions, 1983
Ref: 1000
Cooper William Tview full entry
Reference: 'The legacy of William Cooper' / by Senator Aden Ridgeway

Publishing details: Melbourne : Monash University, Centre for Australian Indigenous Studies, 2001
Ref: 1000
Hay Bill view full entry
Reference: see SMH, published June 8, 2015: Artist who unwittingly created Arts Minister's doppelganger has his own George Brandis experience. ‘"It's almost like he thought that figure was him and that [he] was at the centre," says Melbourne artist Bill Hay of one of his paintings, to which federal Arts Minister George Brandis has taken a liking.
The central figure in the painting, with its bald pate and prominent spectacles, bears a striking resemblance to the minister.

Melbourne artist Bill Hay with a photo of Arts Minister George Brandis posing in front of his painting The Convention. Hay says he refused permission for the senator to use the artwork for his Christmas card.
CREDIT:
MARK JESSER
In light of a recent social media campaign by the George Brandis Live Art Collective in protest against cuts to the Australia Council, in which they superimpose the senator's head on to famous artworks, Hay said he felt his work almost seemed like "a premonition". (Hay contacted Fairfax Media to explain the history of his work after seeing a 2007 file photo of Brandis standing with the painting, hanging in his office, published alongside a comment piece about the cuts).
Hay, 58, created The Convention, an assemblage of paint and "bits of rock and things", in 1995. It was snapped up soon after for a modest sum, Hay thinks about $2000, for the Parliament House Art Collection..’
Hay Billview full entry
Reference: see West Gallery, Therbarton, South Australia website:
Bill Hay
Bill Hay has been making and exhibiting his artwork ever since completing a Diploma of Fine Art at RMIT in 1976. His work can be found in many major public collections, including The ANG Canberra, The National Gallery of Victoria, The Queensland, New South Wales and South Australian Art Galleries, The State Library of Victoria, The Art Centre – Gold Coast, Parliament House – Canberra, University of Technology - Sydney and The City of Melbourne.
"In this work, I am playing with arabesque shapes, which might be words, thought bubbles or clouds emanating from the invisible people in the empty chairs. For years when travelling, I have made drawings of the various chairs in hotel rooms or B&Bs, and they have slowly made their way into my work."
Hay Bill
Robinson Heathview full entry
Reference: see BLOOMSBURY AUCTIONS UK 28 March 2019
, . lot 59: W. Heath Robinson, Female figure over Sydney Harbour, original watercolour illustration, on thick card [n.p., probably c.1909]
single sheet, original watercolour, ruled in black, signed “W. Heath Robinson” on lower left-hand corner, possible illustration title “Sydney” in pencil on reverse, some very slight surface soiling, outer extremities rubbed, 400 by 295 mm.
A sophisticated and early Heath Robinson watercolour, possibly adapted for illustrations in Rudyard Kipling's The Song of the English, first printed in London by Hodder and Stoughton, in 1909.

Zimpel Christinaview full entry
Reference: see Wallpaper, FASHION | 1 NOV 2018 | BY GRACE COOK
The illustrative ingenuity of Christina Zimpel

Illustrated with ‘Ironing’, from the column ‘Diary of a Bad Housewife’, Sydney Morning Herald (both ink on paper). Images courtesy of Christina Zimpel

Unlike most artists, the Australian-born, New York-based illustrator Christina Zimpel does not work out of a studio. She prefers to paint at her kitchen table, in the 1870’s red brick townhouse in Clinton Hill that she shares with her husband, the photographer Patric Shaw. ‘It has beautiful light, with whitewashed walls and simple wood details – it’s a lovely environment to work in,’ says the artist, who cites domesticity, nature and the artist Louise Bourgeois as inspirations. ‘I just make a tea and walk around in the garden when I need a break.’
A graphic design graduate and former art director at Australian and US Vogue, Zimpel has been painting full time for two years. What started as a hobby with a series of self portraits done through a mirror in pencil quickly led to her quitting her day job to pursue her art – and it’s paid off, with a number of high profile commissions that have included the CFDA Awards and, most recently, the Michael Kors Spring/Summer 2019 show.

Portrait of Gabriela Hearst for the CFDA Awards 2018 (ink, pencil and collage)
‘Michael saw my work for the CFDA and wanted to meet me,’ says Zimpel, of the show project that saw her create 30 drawings that represented freedom and escapism over the course of the summer. ‘The brief was Take Me Away, so I painted dreamscapes inspired by Mediterranean views, Capri, the south of France and Greece…’.

Zimpel created the large-scale set pieces in the same way as her traditional technicolour artworks – painted on one piece of paper at her table (she hates wasting paper and will work continuously on one artwork until she likes it, rather than crumpling it up and starting from scratch). ‘The artworks were photographed and we created large digital files which were then transformed onto everything from postcards to massive wall installations and tote bags.’
While her projects are now wide ranging – encompassing everything from advertising campaigns and fabric design to brand packaging – some things in Zimpel’s career have remained a constant: she paints wearing jeans and a man’s shirt every day, and much of her work still focuses on portraits, that are drawn first in pencil. ‘I like layers to give the piece structure,’ she says. ‘I overlay pencil with ink, before using acrylic paint to give opacity and richness of colour.’
Most recently, Zimpel has been working on a forthcoming project for Maison Kitsuné, for which she painted an illustration that will be splashed across everything from shirts to sweaters. ‘It’s a vivid little acid-coloured fox inspired by Matisse,’ she says, of the collection which launches in November. ‘Maison Kitsune were very early champions of mine.’
Preston Margaretview full entry
Reference: see Margaret Preston and the healing arts by Darragh Christie, 21 February 2018.
Publishing details: Published online at http://mosman1914-1918.net/project/blog/h3-margaret-preston-and-the-healing-arts
Feminism view full entry
Reference: SEE Modernism & Feminism by Helen Topliss [to be indexed fully]. ‘This book answers the question posed by a number of male art historians and critics: 'Why were there so many influential women artists in the inter-war period?' The book establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered Modernism.’
‘This work answers the question posed by a number of male art historians and critics: "Why were there so many influential women artists in the inter-war period?" The period between the two wars has been recognized as crucial for women's art but it has never received a proper analysis because art history has been framed (until recently) by a male, linear interpretation which marginalizes the work of all but the most celebrated women artists. Helen Topliss' account establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered modernism. Modernism provided a conducive form of expression for women artists since it originated in opposition to traditional academic practice (which had marginalized female artists) and it focused on qualities that had been identified as feminine by many theorists of modernism. Helen Topliss connects Australian contexts to their European artistic and social contexts, and reveals Australian women artists' awareness of the issues raised by the movement for female emancipation.
In analyzing the work of a number of women artists, in a variety of arts and crafts, she establishes a model for contextualizing both minor and major modernists of the period. Not only were the women artists in this study aware of the history of feminism but they were equally aware of the necessity to establish a female genealogy for their art.’


Publishing details: Craftsman House, 1996, hc
Dangar Anne view full entry
Reference: SEE Modernism & Feminism by Helen Topliss [to be indexed fully]. ‘This book answers the question posed by a number of male art historians and critics: 'Why were there so many influential women artists in the inter-war period?' The book establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered Modernism.’
‘This work answers the question posed by a number of male art historians and critics: "Why were there so many influential women artists in the inter-war period?" The period between the two wars has been recognized as crucial for women's art but it has never received a proper analysis because art history has been framed (until recently) by a male, linear interpretation which marginalizes the work of all but the most celebrated women artists. Helen Topliss' account establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered modernism. Modernism provided a conducive form of expression for women artists since it originated in opposition to traditional academic practice (which had marginalized female artists) and it focused on qualities that had been identified as feminine by many theorists of modernism. Helen Topliss connects Australian contexts to their European artistic and social contexts, and reveals Australian women artists' awareness of the issues raised by the movement for female emancipation.
In analyzing the work of a number of women artists, in a variety of arts and crafts, she establishes a model for contextualizing both minor and major modernists of the period. Not only were the women artists in this study aware of the history of feminism but they were equally aware of the necessity to establish a female genealogy for their art.’


Publishing details: Craftsman House, 1996, hc
Reynell Gladys view full entry
Reference: SEE Modernism & Feminism by Helen Topliss [to be indexed fully]. ‘This book answers the question posed by a number of male art historians and critics: 'Why were there so many influential women artists in the inter-war period?' The book establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered Modernism.’
‘This work answers the question posed by a number of male art historians and critics: "Why were there so many influential women artists in the inter-war period?" The period between the two wars has been recognized as crucial for women's art but it has never received a proper analysis because art history has been framed (until recently) by a male, linear interpretation which marginalizes the work of all but the most celebrated women artists. Helen Topliss' account establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered modernism. Modernism provided a conducive form of expression for women artists since it originated in opposition to traditional academic practice (which had marginalized female artists) and it focused on qualities that had been identified as feminine by many theorists of modernism. Helen Topliss connects Australian contexts to their European artistic and social contexts, and reveals Australian women artists' awareness of the issues raised by the movement for female emancipation.
In analyzing the work of a number of women artists, in a variety of arts and crafts, she establishes a model for contextualizing both minor and major modernists of the period. Not only were the women artists in this study aware of the history of feminism but they were equally aware of the necessity to establish a female genealogy for their art.’


Publishing details: Craftsman House, 1996, hc
Preston Margaret view full entry
Reference: SEE Modernism & Feminism by Helen Topliss [to be indexed fully]. ‘This book answers the question posed by a number of male art historians and critics: 'Why were there so many influential women artists in the inter-war period?' The book establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered Modernism.’
‘This work answers the question posed by a number of male art historians and critics: "Why were there so many influential women artists in the inter-war period?" The period between the two wars has been recognized as crucial for women's art but it has never received a proper analysis because art history has been framed (until recently) by a male, linear interpretation which marginalizes the work of all but the most celebrated women artists. Helen Topliss' account establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered modernism. Modernism provided a conducive form of expression for women artists since it originated in opposition to traditional academic practice (which had marginalized female artists) and it focused on qualities that had been identified as feminine by many theorists of modernism. Helen Topliss connects Australian contexts to their European artistic and social contexts, and reveals Australian women artists' awareness of the issues raised by the movement for female emancipation.
In analyzing the work of a number of women artists, in a variety of arts and crafts, she establishes a model for contextualizing both minor and major modernists of the period. Not only were the women artists in this study aware of the history of feminism but they were equally aware of the necessity to establish a female genealogy for their art.’


Publishing details: Craftsman House, 1996, hc
Black Dorrit view full entry
Reference: SEE Modernism & Feminism by Helen Topliss [to be indexed fully]. ‘This book answers the question posed by a number of male art historians and critics: 'Why were there so many influential women artists in the inter-war period?' The book establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered Modernism.’
‘This work answers the question posed by a number of male art historians and critics: "Why were there so many influential women artists in the inter-war period?" The period between the two wars has been recognized as crucial for women's art but it has never received a proper analysis because art history has been framed (until recently) by a male, linear interpretation which marginalizes the work of all but the most celebrated women artists. Helen Topliss' account establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered modernism. Modernism provided a conducive form of expression for women artists since it originated in opposition to traditional academic practice (which had marginalized female artists) and it focused on qualities that had been identified as feminine by many theorists of modernism. Helen Topliss connects Australian contexts to their European artistic and social contexts, and reveals Australian women artists' awareness of the issues raised by the movement for female emancipation.
In analyzing the work of a number of women artists, in a variety of arts and crafts, she establishes a model for contextualizing both minor and major modernists of the period. Not only were the women artists in this study aware of the history of feminism but they were equally aware of the necessity to establish a female genealogy for their art.’


Publishing details: Craftsman House, 1996, hc
Proctor Thea view full entry
Reference: SEE Modernism & Feminism by Helen Topliss [to be indexed fully]. ‘This book answers the question posed by a number of male art historians and critics: 'Why were there so many influential women artists in the inter-war period?' The book establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered Modernism.’
‘This work answers the question posed by a number of male art historians and critics: "Why were there so many influential women artists in the inter-war period?" The period between the two wars has been recognized as crucial for women's art but it has never received a proper analysis because art history has been framed (until recently) by a male, linear interpretation which marginalizes the work of all but the most celebrated women artists. Helen Topliss' account establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered modernism. Modernism provided a conducive form of expression for women artists since it originated in opposition to traditional academic practice (which had marginalized female artists) and it focused on qualities that had been identified as feminine by many theorists of modernism. Helen Topliss connects Australian contexts to their European artistic and social contexts, and reveals Australian women artists' awareness of the issues raised by the movement for female emancipation.
In analyzing the work of a number of women artists, in a variety of arts and crafts, she establishes a model for contextualizing both minor and major modernists of the period. Not only were the women artists in this study aware of the history of feminism but they were equally aware of the necessity to establish a female genealogy for their art.’


Publishing details: Craftsman House, 1996, hc
Syme Evaline view full entry
Reference: SEE Modernism & Feminism by Helen Topliss [to be indexed fully]. ‘This book answers the question posed by a number of male art historians and critics: 'Why were there so many influential women artists in the inter-war period?' The book establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered Modernism.’
‘This work answers the question posed by a number of male art historians and critics: "Why were there so many influential women artists in the inter-war period?" The period between the two wars has been recognized as crucial for women's art but it has never received a proper analysis because art history has been framed (until recently) by a male, linear interpretation which marginalizes the work of all but the most celebrated women artists. Helen Topliss' account establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered modernism. Modernism provided a conducive form of expression for women artists since it originated in opposition to traditional academic practice (which had marginalized female artists) and it focused on qualities that had been identified as feminine by many theorists of modernism. Helen Topliss connects Australian contexts to their European artistic and social contexts, and reveals Australian women artists' awareness of the issues raised by the movement for female emancipation.
In analyzing the work of a number of women artists, in a variety of arts and crafts, she establishes a model for contextualizing both minor and major modernists of the period. Not only were the women artists in this study aware of the history of feminism but they were equally aware of the necessity to establish a female genealogy for their art.’


Publishing details: Craftsman House, 1996, hc
Spowers Ethel view full entry
Reference: SEE Modernism & Feminism by Helen Topliss [to be indexed fully]. ‘This book answers the question posed by a number of male art historians and critics: 'Why were there so many influential women artists in the inter-war period?' The book establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered Modernism.’
‘This work answers the question posed by a number of male art historians and critics: "Why were there so many influential women artists in the inter-war period?" The period between the two wars has been recognized as crucial for women's art but it has never received a proper analysis because art history has been framed (until recently) by a male, linear interpretation which marginalizes the work of all but the most celebrated women artists. Helen Topliss' account establishes a female context for women's art in Australia and demonstrates how women artists belonged to a female network which fostered modernism. Modernism provided a conducive form of expression for women artists since it originated in opposition to traditional academic practice (which had marginalized female artists) and it focused on qualities that had been identified as feminine by many theorists of modernism. Helen Topliss connects Australian contexts to their European artistic and social contexts, and reveals Australian women artists' awareness of the issues raised by the movement for female emancipation.
In analyzing the work of a number of women artists, in a variety of arts and crafts, she establishes a model for contextualizing both minor and major modernists of the period. Not only were the women artists in this study aware of the history of feminism but they were equally aware of the necessity to establish a female genealogy for their art.’


Publishing details: Craftsman House, 1996, hc
Stuart James view full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 39: JAMES STUART [1802 -1842], ‘The First Settlement in Adelaide. January 1837. Situated in the present Parkland, west of the West End of North Terrace, watercolour, with hand-painted title below, signed "Stuart" at lower left,
23 x 43cm.
Davenport Samuel Thomasview full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 45: SAMUEL THOMAS DAVENPORT [British, born 1821],
Hobart Town,
steel engraving, circa 1844,
10 x 17cm.
Walton W J active 1834-55view full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 92: W.L. WALTON [active 1834-1855],
Chief Commissioners Camp Castlemaine, Escort Leaving for Melbourne.
coloured lithograph (from "What I Heard, Saw and Did on the Australian Goldfields" by C. Rudston Read, 1853),
11 x 18.5cm.
Stoney Henry Butler view full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 100: Two plates from "A Residence in Tasmania: with a Descriptive Tour Through the Island". [London: Smith, Elder, & Co., 1856]
by Captain Henry Butler STONEY [1816 - 1894],
Hobarton, From the West,
and,
Frederick Henry Bay,
lithographs,
both 11 x 19cm. (2).
An Irishman who spent time in Tasmania on a posting to Australia with the British Army, Stoney purchased land at Wyvenhoe, near Burnie in northeast Tasmania. He was a draftsman and artist whose own sketches were adapted to illustrate the book he wrote about his experiences.


McCrea George Gordon 1833 - 1927view full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 117: GEORGE GORDON McCRAE [1833 - 1927],
Carrion Vulture (Vultur Bismarckii),
ink and wash, signed "GG McCrae" at lower left and titled below the image,
23.5 x 28.5cm.

McCrae, who was born in Scotland and died at Hawthorn in Melbourne, is from the family after whom McCrae on the Mornington Peninsula is named. He has here depicted the widely held view of Bismarck during and after the Franco-Prussian War of 1870-71. Bismarck is shown as a vulture picking over the bodies of France and Liberty.
Morgan Harrietview full entry
Reference: "Mammals of Australia", 1871, illustrated by Helene Scott and Harriett Morgan,
Ref: 1000
Scott Helenaview full entry
Reference: from Revolvy website:
Helena Scott
Helena "Nellie" Scott (1832 Sydney – 1910) was an Australian illustrator of natural history. She and her sister Harriet Morgan (1830–1907) were the daughters of the Australian entomologist Alexander Walker Scott.

Family life
In 1846, the family moved from Sydney to the remote Ash Island in the Hunter River estuary, near Hexham. Located in an untouched area of native vegetation and wildlife, they flourished under the guidance of their artistic father and Harriet Calcott, their mother. For a period of some 20 years, they remained on the island, documenting its plants and wildlife, with an emphasis on the butterflies and moths.
Harriet and Helena kept unusually detailed records which are held by the Australian Museum Archives. They compiled a handwritten catalogue in 1862 entitled "The Indigenous Botany of Ash Island", a list of their well-preserved botanical specimens. Their striking depictions and descriptions of the island's moths and butterflies attest to the enormous dedication of the family to their self-imposed project.
A glimpse into the daily lives of the two sisters is provided by the meticulous records they kept. Together with their father, they collected live specimens from their neighbourhood, then determined the proper food plants to take back home and feed the hungry creatures. They then conducted a lively correspondence with various specialists to pin down the identities of the problematic species. Their father gave them full credit for their achievements, praising the quality of the drawings that showed the insects in all their various stages.
The 1860s had also brought dark days for Helena – her mother's death, her father's bankruptcy and the death of her husband, Edward Forde, whom she had married in 1864. Facing enormous financial problems, the family were forced to leave their island home. The sisters were now obliged to seek payment for their work. While finishing some plates of birds' eggs for Edward Ramsay in 1866, Harriet asked "... above all ... let nobody know you are paying me for doing them for you." She eventually married Dr Cosby William Morgan in 1882, but the widowed Helena continued to struggle financially. Both sisters continued to illustrate commercially for the rest of their lives. Harriet produced botanical illustrations for the 1879, 1884 and 1886 editions of the "Railway Guide to New South Wales", and both were involved in the production of Australia's first Christmas cards in 1879.
Helena died in Harris Park in 1910 leaving no descendants.[1]
Professional illustrators
By 1864, a large number of plates of moths and butterflies had been completed, ready for the publication of the first volume of their father's Australian Lepidoptera and Their Transformations. A number of illustrating commissions sprang from this work, some from their father's contacts as trustee of the Australian Museum. They provided the illustrations for James Charles Cox's Monograph of Australian Land Shells (1868), and for Gerard Krefft's Snakes of Australia (1869) and Mammals of Australia (1871) – the artwork from these publications was singled out for praise at the Sydney Intercolonial Exhibition in 1870.
When the prominent natural historian William Swainson examined the growing number of paintings a decade earlier, he wrote in the Sydney Morning Herald,
... these drawings are equal to any I have ever seen by modern artists ... every tuft of hair in the caterpillar, the silken webs of the cocoon, or the delicate and often intricate pencillings on the wings of a moth, stand out with a prominence of relief which it is perfectly impossible to reproduce by simple water colours...
The brilliant colours and painstaking detail, a tribute to the sisters' patient observation and labour, are just as pleasing 150 years later. The museum purchased the 100 completed plates for ₤200 in 1884. The standard of their work led to their being elected honorary members of the Entomological Society – a signal honour for women in that period of history.
The Australian Museum were persuaded to publish the remainder of the Lepidoptera material, which they had purchased in 1884, together with the sisters' drawings, diaries and notes. Under Helena's supervision, and working with museum entomologist Arthur Sidney Olliff, the second volume of the Lepidoptera was published in five parts between 1890 and 1898. The two sisters did most of the lithography for this volume, which was then printed by the Australian Museum, and sent to England to be hand coloured, using the sisters' paintings as colour benchmark.[2]
Helena, with her sister Harriet, were largely forgotten until the 2011 exhibition Beauty from Nature: Art of the Scott Sisters at the Australian Museum in Sydney.[3]
Gallery
References
1 Dory, Fran. "A biography of the Scott sisters". Australian Museum website. Australian Museum. Retrieved 13 March 2013.
2 Docker, Rose "The Scott Sisters"
3 News. "Australian Museum". The Australian Museum. Retrieved 2019-01-16.
Further reading
Vanessa Finney (2018), Transformations : Harriet and Helena Scott, Colonial Sydney's Finest Natural History Painters, NewSouth Publishing, ISBN 978-1-74223-580-6
External links
Wikimedia Commons has media related to Helena Scott.

Australian Museum Gallery
Scott Harriettview full entry
Reference: Krefft, Gerard (1871) The Mammals of Australia. Illustrated by Miss Harriett Scott, and Mrs. Helena Forde
Ref: 1000
Morgan Harriet (1830–1907)view full entry
Reference: from Revolvy website:
Helena Scott
Helena "Nellie" Scott (1832 Sydney – 1910) was an Australian illustrator of natural history. She and her sister Harriet Morgan (1830–1907) were the daughters of the Australian entomologist Alexander Walker Scott.

Family life
In 1846, the family moved from Sydney to the remote Ash Island in the Hunter River estuary, near Hexham. Located in an untouched area of native vegetation and wildlife, they flourished under the guidance of their artistic father and Harriet Calcott, their mother. For a period of some 20 years, they remained on the island, documenting its plants and wildlife, with an emphasis on the butterflies and moths.
Harriet and Helena kept unusually detailed records which are held by the Australian Museum Archives. They compiled a handwritten catalogue in 1862 entitled "The Indigenous Botany of Ash Island", a list of their well-preserved botanical specimens. Their striking depictions and descriptions of the island's moths and butterflies attest to the enormous dedication of the family to their self-imposed project.
A glimpse into the daily lives of the two sisters is provided by the meticulous records they kept. Together with their father, they collected live specimens from their neighbourhood, then determined the proper food plants to take back home and feed the hungry creatures. They then conducted a lively correspondence with various specialists to pin down the identities of the problematic species. Their father gave them full credit for their achievements, praising the quality of the drawings that showed the insects in all their various stages.
The 1860s had also brought dark days for Helena – her mother's death, her father's bankruptcy and the death of her husband, Edward Forde, whom she had married in 1864. Facing enormous financial problems, the family were forced to leave their island home. The sisters were now obliged to seek payment for their work. While finishing some plates of birds' eggs for Edward Ramsay in 1866, Harriet asked "... above all ... let nobody know you are paying me for doing them for you." She eventually married Dr Cosby William Morgan in 1882, but the widowed Helena continued to struggle financially. Both sisters continued to illustrate commercially for the rest of their lives. Harriet produced botanical illustrations for the 1879, 1884 and 1886 editions of the "Railway Guide to New South Wales", and both were involved in the production of Australia's first Christmas cards in 1879.
Helena died in Harris Park in 1910 leaving no descendants.[1]
Professional illustrators
By 1864, a large number of plates of moths and butterflies had been completed, ready for the publication of the first volume of their father's Australian Lepidoptera and Their Transformations. A number of illustrating commissions sprang from this work, some from their father's contacts as trustee of the Australian Museum. They provided the illustrations for James Charles Cox's Monograph of Australian Land Shells (1868), and for Gerard Krefft's Snakes of Australia (1869) and Mammals of Australia (1871) – the artwork from these publications was singled out for praise at the Sydney Intercolonial Exhibition in 1870.
When the prominent natural historian William Swainson examined the growing number of paintings a decade earlier, he wrote in the Sydney Morning Herald,
... these drawings are equal to any I have ever seen by modern artists ... every tuft of hair in the caterpillar, the silken webs of the cocoon, or the delicate and often intricate pencillings on the wings of a moth, stand out with a prominence of relief which it is perfectly impossible to reproduce by simple water colours...
The brilliant colours and painstaking detail, a tribute to the sisters' patient observation and labour, are just as pleasing 150 years later. The museum purchased the 100 completed plates for ₤200 in 1884. The standard of their work led to their being elected honorary members of the Entomological Society – a signal honour for women in that period of history.
The Australian Museum were persuaded to publish the remainder of the Lepidoptera material, which they had purchased in 1884, together with the sisters' drawings, diaries and notes. Under Helena's supervision, and working with museum entomologist Arthur Sidney Olliff, the second volume of the Lepidoptera was published in five parts between 1890 and 1898. The two sisters did most of the lithography for this volume, which was then printed by the Australian Museum, and sent to England to be hand coloured, using the sisters' paintings as colour benchmark.[2]
Helena, with her sister Harriet, were largely forgotten until the 2011 exhibition Beauty from Nature: Art of the Scott Sisters at the Australian Museum in Sydney.[3]
Gallery
References
1 Dory, Fran. "A biography of the Scott sisters". Australian Museum website. Australian Museum. Retrieved 13 March 2013.
2 Docker, Rose "The Scott Sisters"
3 News. "Australian Museum". The Australian Museum. Retrieved 2019-01-16.
Further reading
Vanessa Finney (2018), Transformations : Harriet and Helena Scott, Colonial Sydney's Finest Natural History Painters, NewSouth Publishing, ISBN 978-1-74223-580-6
External links
Wikimedia Commons has media related to Helena Scott.

Australian Museum Gallery
Scott Harriettview full entry
Reference: see Krefft, Gerard (1871) The Mammals of Australia. Illustrated by Miss Harriett Scott, and Mrs. Helena Forde
Scott sisters Harriett and Helenaview full entry
Reference: Beauty from Nature: Art of the Scott Sisters at the Australian Museum in Sydney. Exhibition (was there a catalogue?)
Publishing details: Australian Museum in Sydney, 2011, exhibition catalogue?
Ref: 1000
Scott sisters Harriett and Helenaview full entry
Reference: The Snakes of Australia; An Illustrated and Descriptive Catalogue of All the Known Species by Gerard Krefft. Illustrated by Harriett and Helena Scott.

Publishing details: Sydney: Thomas Richards 1869. Sm. 4to. In publisher's original cloth-backed printed boards and preserved in an elaborate full oasis fleece-lined folding solander case with gilt illust. inlay on front cover gilt borders & dec. spine. (xxvi 100pp.). Complete with the 12 full-page litho plates by Helena Forde and Harriet Scott
Ref: 1000
Tibbits William Taylor Smith [1837-1906],view full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 125: WILLIAM TAYLOR SMITH TIBBITS [1837-1906],
St. Ives, Toorak Road South Yarra,
watercolour,
8 x 14cm.
Now a Rob Mills & Paul Bangay development.
Barrett Hview full entry
Reference: see "The Forest Flora of South Australia" 1882-1890, illustrations by H. BARRETT

Ref: 1000
Clark Rolandview full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 140: ROLAND CLARK (active early 1900s),
St Kilda Pier,
watercolour, signed and dated "1900" lower right,
15.5 x 24.5cm.
Dancey Georgeview full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 153: GEORGE DANCEY [1865-1922],
The Reeking Pit of War,
Wash drawing on Windsor & Newton illustration board,
signed lower right in black ink,
32 x 24cm. (image)
The German Kaiser Wilhelm is depicted standing on the shoulders of Sultan Mehmet V, who is sinking in "the reeking pit of war".
Dancey was chief cartoonist on Melbourne Punch from 1898 until 1919. Examples of his work are held in the National Library of Australia collection.
Hope M H view full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 190: M.H. HOPE,
Strawberry Pickers,
oil on canvas,
signed and dated "1937" lower left,
40.5 x 51cm.
Schonbach Frederick (Fritz)view full entry
Reference: see Leski auction McLelland Print Room 5.5.19, lot 195: FREDERICK (Fritz) SCHONBACH (b.1920, Vienna),
Cartoon: "Look at the way the war has pepped up the emancipation of women for instance",
black ink, Chinese white & charcoal on paper,  dated 3/11/45 at lower right,
24 x 28 cm (irregular).
Schonbach was a "Dunera Boy" who worked on The Australasian Post in 1945-46, when Alan McCulloch was the art editor.
Lindsay Normanview full entry
Reference: MACKENZIE, Kenneth (1913-1955); LINDSAY, Norman (1879-1969)
Our earth
With an original etching and 13 illustrations by Norman Lindsay.
Publishing details: Sydney : Angus & Robertson, 1937. Quarto, quarter cloth over gilt-lettered textured boards, 60 pp, tipped-in illustrations and vignettes by Lindsay. The frontispiece is an original etching by Norman Lindsay, signed. Limited to 225 copies signed and numbered by Mackenzie
Ref: 1000
Connor Desview full entry
Reference: The pirate fairies : a fairy thriller, Des O’Connor (illustrator)

Publishing details: Sydney : Currawong Publishing Co., 1943. Octavo, colour pictorial wrappers with yapp edges (a couple of faint stains to front), 48 pp, Des Connor’s line drawn illustrations throughout;
Ref: 1000
coins of Tasmaniaview full entry
Reference: McNEICE, Roger V.
Coins and tokens of Tasmania 1803-1810

Publishing details: Hobart : Platypus Publications, 1969. First edition. Octavo, publisher’s tan cloth over boards in pictorial dust jacket, pp xii, 112; b/w
Ref: 1000
tokens of Tasmaniaview full entry
Reference: see McNEICE, Roger V.
Coins and tokens of Tasmania 1803-1810

Publishing details: Hobart : Platypus Publications, 1969. First edition. Octavo, publisher’s tan cloth over boards in pictorial dust jacket, pp xii, 112; b/w
Bayliss Charles (1850-1897)view full entry
Reference: Charles Bayliss (1850 – 1897) colonial photographer by Anne-Marie Willia.
Catalogue of 116 works, with an introductory essay by Anne-Marie Willis; although the photographs are not illustrated, the views of Sydney’s city streets, Harbour and suburbs, and the Blue Mountains, as well as Bayliss’ ethnographic portraits of Aboriginal subjects, are all described in detail; …
Publishing details: Sydney : Josef Lebovic Gallery, [1984]. Quarto, illustrated brown wrappers, [pp. 26].
Ref: 1009
Parks Tiview full entry
Reference: Ti Parks book and book works : 1992 catalogue. [From Douglas Stewart Fine Biiks: ‘British artist Ti Parks lived and worked in Melbourne between 1964 and 1975, where he had a major influence on the evolution of conceptual art of the time. This is a self-published catalogue of his artist’s books, which is itself produced in the form of an artist’s book. Approximately 26 works are catalogued, described and illustrated.
‘It is in an edition of 50 copies numbered and signed by the artist, designed, made and bound by the artist’ – Colophon.
Rare. A single copy is recorded in Australian collections (State Library of Victoria).]
Publishing details: The artist, 1992. Edition limited to 50 signed and numbered copies (this copy is number 5). Octavo, self-wrappers, on folded leaves in Oriental style stitch-bound by the artist, [116] pp; with the artist’s xerox illustrations, basic drawings and designs, and inserted samples
Ref: 1000
Eli Bonitaview full entry
Reference: Murray / Murundi by Bonita Eli
With contributions from Jack & Annie Koolmatrie, Leigh Hobba and Dulcie Ely. Artist’s book on the Aboriginal history of the Murray (Murindi) River.
Publishing details: Adelaide : Experimental Art Foundation, [1981]. Quarto, illustrated wrappers, pp. [90], illustrated,
Ref: 1000
Sydney Grahameview full entry
Reference: The art of Grahame Sydney
A comprehensive survey of one of New Zealand’s greatest landscape artists, conplete 143 reproductions.
Publishing details: Dunedin : Longacre Press, 2000. Oblong quarto, navy cloth boards with pictorial dustjacket, pp 191.
Ref: 1000
Wendell Robertview full entry
Reference: New South Wales Album. Contains 22 unnumbered chromolithographs of Sydney and the Blue Mountains. Two of these are double page. The first of these is Sydney Cove and Dawes Point (Port Jackson) Lavender Bay (Looking Towards Fort Denison) and the other is Sydney, Darling Harbour, and Balmain (from Blue's Point). The artist for all the images is R Wendell and the book is engraved and printed by Charles Troedel in 1878. Each view is accompanied by a one page text explanation. The text for the first plate - that of Botany Bay is missing. At the rear is a 26 page supplement The History of New South Wales. This section lacks the advertisements. Eight of the plates have minor foxing. Ferguson 17326. From Sydney Rare Book Auction 6 April, 2019.
Publishing details: Measures 32 x 25 cms and is in original half leather and cloth with the inner hinges strengthened. The front cover has a gilt title and is surronded by a gilt decorated border. With copy of letter received by Charles Troedel & Co from Sir Hercules Robinson, Governor of New South Wales.
Ref: 1000
Murray A Sview full entry
Reference: Twelve Hundred Miles on the River Murray by A.S.Murray. 15 tipped in col.chromolithograph plates, [facsimile illustrations in colours by the author]
Publishing details: Australia George Robertson & Co. 1898. oblong folio, full green cloth, gilt.
Ref: 1000
Western Australian artview full entry
Reference: see Life In Western Australia Since The Early Colonial Settlement
Publishing details: West Australia Newspapers, 1979, pb
Life In Western Australiaview full entry
Reference: see Life In Western Australia Since The Early Colonial Settlement
Publishing details: West Australia Newspapers, 1979, pb
colonial artview full entry
Reference: see Art in the Time of Colony by Khadija von Zinnenburg Carroll. [It is often assumed that the verbal and visual languages of Indigenous people had little influence upon the classification of scientific, legal, and artistic objects in the metropolises and museums of nineteenth-century colonial powers. However colonized locals did more than merely collect material for interested colonizers. In developing the concept of anachronism for the analysis of colonial material this book writes the complex biographies for five key objects that exemplify, embody, and refract the tensions of nineteenth-century history. Through an analysis of particular language notations and drawings hidden in colonial documents and a reexamination of cross-cultural communication, the book writes biographies for five objects that exemplify the tensions of nineteenth-century history. The author also draws on fieldwork done in communities today, such as the group of Koorie women whose re-enactments of tradition illustrate the first chapter’s potted history of indigenous mediums and debates. The second case study explores British colonial history through the biography of the proclamation boards produced under George Arthur (1784-1854), Governor of British Honduras, Tasmania, British Columbia, and India. The third case study looks at the maps of the German explorer of indigenous taxonomy Wilhelm von Blandowski (1822-1878), and the fourth looks at a multi-authored encyclopaedia in which Blandowski had taken into account indigenous knowledge such as that in the work of Kwat-Kwat artist Yakaduna, whose hundreds of drawings (1862-1901) are the material basis for the fifth and final case study. Through these three characters’ histories Art in the Time of Colony demonstrates the political importance of material culture by using objects to revisit the much-contested nineteenth-century colonial period, in which the colonial nations as a cultural and legal-political system were brought into being.
Publishing details: Routledge, 2014,
336 pages
Colonial artview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Scarce Yhonnie short essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Watson Judy essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Packham John essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Webber John essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
de Loutherbourg Phillipe Jacque essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Gillray James South Sea Butterfly essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Dale Lieut Robert essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Havell Robert essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Stone Sarah essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Scott Harriet essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Bradley William essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Burn Henry essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
settler images essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Port Jackson Painter essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Dowling Robert essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
McRae Tommy essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Cook Michael essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Portraits in Australia essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Earle Augustus essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Costantini C H T essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Berkeley Martha essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Nixon William Millington essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Dowling Julie essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Mickleburgh Edward Robert essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Glover John essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Martens Conrad essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
von Guerard Eugene essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
r e a essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Aboriginal artview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Aboriginal shields essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Tylor James essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Andrew Robert essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Clarke Maree essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
photography in colonial Australia essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Chocka Bindi Cole essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Gough Julie essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Paton Steaphan essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Andrew Brook essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Wedge H J essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Grieves Genevieve essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Thompson Christian essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Thompson Christian essayview full entry
Reference: see Colony: Australia 1770-1861 / frontier wars / edited by Cathy Leahy and Judith Ryan, with contributors. Published for the exhibitions Colony: Australia 1770-1861 and Colony: Frontier Wars held at the Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 15 March - 15 July 2018. Includes bibliographical references (pages 311-331).
This publication accompanies the two-part exhibition Colony: Australia 1770–1861 and Colony: Frontier Wars, which explores Australia’s shared history. Featuring works from the National Gallery of Victoria and key collections throughout Australia, it highlights the multiple perspectives on our colonial history through new scholarship and first-person statements from contemporary artists. This volume is a valuable addition to existing analyses of Australia’s complex colonial past.

contributors:
Brook Andrew, Robert Andrew, Louise Anemaat, Alisa Bunbury, Maree Clarke, Bindi Cole Chocka, Michael Cook, Carol Cooper, Julie Dowling, Amanda Dunsmore, Rebecca Edwards, Daina Fletcher, Elle Freak, Joanna Gilmour, Dr Ted Gott, Dr Julie Gough, Genevieve Grieves, Dr David Hansen, Peter Hughes, David Hurlston, Julia Jackson, Jonathan Jones, Cathy Leahy, Greg Lehman, Dr Donna Leslie, Dr Jane Lydon, John McPhee, Kimberley Moulton, Aunty Joy Murphy-Wandin AO, Richard Neville, Sarina Noordhuis-Fairfax, John Packham, Steaphan Paton, Cara Pinchbeck, Elspeth Pitt, Dr Joseph Pugliese, r e a, Beckett Rozentals, Dr Lynette Russell, Myles Russell-Cook, Judith Ryan AM, Yhonnie Scarce, Caitlin Sutton, Dr Christian Thompson, James Tylor (Possum), Michael Varcoe-Cocks, Judy Watson, H. J. Wedge, Danielle Whitfield, Nat Williams, Susan van Wyk.
Publishing details: National Gallery of Victoria, 2018,
Linen bound hardcover with a French fold jacket
394 pages
Fully illustrated in colour.
Martin Matthew b1952view full entry
Reference: 250 cartoons by Matthew Martin ; introduced by David Dale [illustrator for the Sydney Morning Herald]
Publishing details: Hawthorn, Vic. : Anne O'Donovan ; Melbourne : Gordon & Gotch, 1986 
116 p. : ill.
Stone Sarahview full entry
Reference: see The Album of Watercolours Of Birds
Watercolour over pencil, one hundred and seventy five, fifteen signed: Sarah Stone, one hundred and seventy one inscribed with references to Latham's Synopsis (op. cit.) and with Linnaean classifications, one dated: 1785, Est: GBP100,000-150,000, Sotheby's, Topographical Paintings, Watercolours & Drawings, London, 02/11/1988, Lot No. 77 [Unsold]
Clune Themaview full entry
Reference: see Theodore Bruce Auction, No: AS0558, Art | Asian | Jewels | Objets, 14 Apr 2019 11:00 / Sydney, Lot 11,
Thelma Clune
(1900-1992)
The Power of the Pen
Collage
Hogarth Galleries, Paddington, label verso
48 x 36.5 cm

PROVENANCE:
The Estate of the Late Leslie Walford
The Collection of Colin Davies
Estimate $200-400
Fitzjames Michaelview full entry
Reference: Australian Galleries invite with 9 colour illustreations and catalogue listing 41 works and prices inserted. No biographical information.
Publishing details: Australian Galleries, Sydney, 2019, 6 pp
Ref: 43
Miller Lewisview full entry
Reference: Australian Galleries catalogue, 38 works listed, with prices, bo biographical information or illustrations.
Publishing details: 2019, 24 illustrations, biography
Ref: 1000
Parnaby Craigview full entry
Reference: see Smalls Auctions Bulletin - Sale 42, 2019,
Innocent Days at the Beach. There is nothing that sings Australia more than the hot summer sun beating down on its people. Its why most of the country’s population clings to the seaboard to take weekend respite on its many sandy beaches, and why tragically it has one of the highest rates of skin cancer in the World.
‘Beach Pattern’ by the contemporary artist Craig Parnaby perfectly captures the dichotomy of these two aspects of Australian life.
A speedo-clad boy oblivious to his ‘weed’ emblazoned T-shirt stares dangerously into the blazing western sun while a topless young girl on the cusp of puberty innocently presents her body to passers-by without a care in the world. An older female is bending down to gather up the towels signalling an end to their ritual day at the beach.
With the use of light and shade Parnaby captures the fierce afternoon sun as it bears down on the bodies of its future victims. In his own words he likens his paintings to “a pictorial journal of local experiences” and his chosen colours are uniquely Australian. He says that although he is “open to the entire spectrum, I try to drain luminosity from the colour in order to create the effect of things being weathered by the unrelenting Australian Summer.”
However inevitable, it will take many lazy days at the beach before the supple skin of youth will be transformed into that of a shedding lizard scarred by the days of summers past.
Parnaby worked nights in the restaurants and cafes on Sydney’s iconic Bondi Beach and each day on the sand “observing the frolic of young people from around the world.” He purposely eschewed facial details in his works in a tilt to universality and one must look very closely to discover the gender of his subjects.
Much like the furtive glances of beachgoers searching for their lost youth, Parnaby’s paintings evoke innocent reflection not perverted stares at his young subjects as they soak up the Australian sun. To paraphrase the famous Australian feminist Germaine Greer, it is not wrong to see beauty in youth but only to take advantage of it.
This month Smalls Auctions offers the Craig Parnaby work ‘Beach Pattern’ that truly captures the beginnings of the Australian ‘Rite of Passage.’
For more interesting articles go to www.smallsauctions.com and click the NEWS tab
Bottersnikes & other lost thingsview full entry
Reference: see Bottersnikes & other lost things - a celebration of Australian Illustrated Children’s books by Juliet O'Conor. Brief biographiocal information is included on many of the artists whose work is illustrated in the book.

[’Author Juliet O’Conor curates the Library’s  Children's Literature Collection, which at 100,000 titles is the leading collection of its kind in the world. This beautifully illustrated volume includes works from some of Australia's most-loved writers and illustrators, and provides an expansive exploration of Australian literature from past to present.’]

Publishing details: Publisher: The Miegunyah Press in association with State Library , Victoria, 2009, 262pp, hc, dw, with index,

Brooks Ronview full entry
Reference: BROOKS, Ron. DRAWN FROM THE HEART. A Memoir. ‘Award winning Australian children's book illustrator Ron Brooks, grew up in East Gippsland & had a keen eye for observation & drawing. "The Bunyip of Berkeley's Creek" won him international acclaim.’
Publishing details: Crown Nest. Allen & Unwin. 2010. 4to. Or.bds. Dustjacket. 325pp. col & b/w ills.
Ref: 1000
Bookplate Societyview full entry
Reference: NEW AUSTRALIAN BOOKPLATE SOCIETY. DIRECTORY OF MEMBERS 2011.
Publishing details: Riverview. The Society. 2011. Or.wrapps. 48pp. 34 illustrations of bookplates in colour
and black & white. Fine. Edition of 120 numbered copies signed by Mark Ferson, the President of the Society. Folder with 14 loose bookplates of members, loosely inserted.
Ref: 1000
Astrolabe The Voyage ofview full entry
Reference: WRIGHT, Olive. THE VOYAGE OF THE ASTROLABE - 1840. An English rendering of the journals of Dumont d'Urville and his officers of their visit to New Zealand in 1840, together with some account of Bishop Pompallier and Charles, Baron de Thierry. French explorer & naval officer Jules Dumont d'Urville sailed south around the North & South Islands of New Zealand to survey the islands after being sent to find the South Magnetic Pole.
Publishing details: Wellington. A. H. & A. W. Reed. 1955. 4to. Or.cl. 180pp.
Ref: 1000
d'Urville Dumont view full entry
Reference: see WRIGHT, Olive. THE VOYAGE OF THE ASTROLABE - 1840. An English rendering of the journals of Dumont d'Urville and his officers of their visit to New Zealand in 1840, together with some account of Bishop Pompallier and Charles, Baron de Thierry. French explorer & naval officer Jules Dumont d'Urville sailed south around the North & South Islands of New Zealand to survey the islands after being sent to find the South Magnetic Pole.
Publishing details: Wellington. A. H. & A. W. Reed. 1955. 4to. Or.cl. 180pp.
Sainson de Louisview full entry
Reference: see WRIGHT, Olive. THE VOYAGE OF THE ASTROLABE - 1840. An English rendering of the journals of Dumont d'Urville and his officers of their visit to New Zealand in 1840, together with some account of Bishop Pompallier and Charles, Baron de Thierry. French explorer & naval officer Jules Dumont d'Urville sailed south around the North & South Islands of New Zealand to survey the islands after being sent to find the South Magnetic Pole.
Publishing details: Wellington. A. H. & A. W. Reed. 1955. 4to. Or.cl. 180pp.
Marriott Violet Oliveview full entry
Reference: see ROSEBERYS LONDON auction, 13,4,2019, lot 732: Violet Olive Marriott was born on March 17, 1920, and died on December 17, 2017, aged 97. She was born in the East End of London and was inspired to love the stage by her grandmother, who’d been a dancer at the Whitechapel Music Hall. On seeing John Gielgud in Richard of Bordeaux in 1933, she decided to become an actress, an ambition never fulfilled. During the war she worked with Frank Whittle, inventor of the turbo jet engine. After the war she applied to work for the Old Vic Theatre Company, and her long career as theatre administrator started there, also providing the opportunity to meet and work alongside of some of the most luminous actors of the 20th century, including Laurence Olivier. Here, she met director Hugh Hunt and went with him to Australia in 1955 to set up the Elizabethan Theatre Trust, the foundation for a National Theatre of Australia. On her return to the UK, she worked for the Harold Fielding artists’ agency and then a production agency and then returned to the Old Vic (the National Theatre at the Old Vic) meeting theatre director Frank Dunlop in the process. Dunlop was looking to start a new theatre for young people as an offshoot of the National Theatre under Olivier, and the Young Vic came into being in 1970, where she worked for 25 years. She was also administrator of the Cherub Company London led by Andrew Visnevski and travelled extensively with the company. In 2009, Vi Marriott was appointed an MBE for services to theatre and for her tireless support of young artists in theatre. She was a theatre administrator, researcher, published author (“The Fool’s Coat”, 2007) poet, traveller, occultist, art-lover and balletomane. The following lots 732 to 757 are from her private collection: Jackie Day, British, late 20th century, Curious Performance; signed and titled in pencil, black and red chalk (ARR) Provenance: Vi Marriott Theatre Archive

Middleton Colin (British - traveeled in Australia)view full entry
Reference: see Irish & International Art Auction 29th April '19, by Morgan O'Driscoll, April 29, 2019, lot 64: Colin Middleton RUA RHA (1910-1983)
Matinée (1976-77)
oil on board
signed lower right, titled and dated (1976-77) verso
h:61  w:61 cm.

Provenance:
Tom Caldwell Gallery, Belfast (label verso);
Private Collection

Exhibited:
Tom Caldwell Gallery, Belfast, Colin Middleton, Paintings 1976-77: Transmutations, Metamorphoses, Visitations, catalogue number 10

Colin Middleton's work in the 1970s was dominated by two major groups of paintings, the Wilderness Series and the Westerness Series. These can both, in part, be seen as a summary of his career, bringing together various ideas, themes and symbols, as well as very personal references from across five decades, into a distilled and coherent body of paintings. Matinée, which relates closely to both groups, was completed towards the end of this period and was exhibited in an exhibition subtitled 'Transmutations, Metamorphoses, Visitations'.
These three concepts, which were central to Middleton's early symbolist and surrealist work in the 1930s and 1940s, are skilfully explored in Matinée; the twisted rock-like form in the foreground recalls the remarkable paint surface Middleton achieved in the Westerness series to create elusive and shifting textured shapes which, as here, could suggest either the solidity of rock or else fabric draped across a mysterious and abstracted female form.
Around this strange arch takes place a colourful scene that is more reminiscent of the Wilderness series. Two doll-like female figures seem to be engaged in a performance with two boxes, one solid, the other weightless, with the higher figure also tethered to an invisible object just beyond the view we are permitted. The vast sky and what appears to be a wooden deck-like structure occur in many of the Wilderness paintings and are perhaps a reference to the extensive sea journeys Middleton took earlier in the decade.
These travels to Spain, Australia and South America stimulated his use of colour in the 1970s, as well as providing a new vocabulary of shapes and an expansive sense of scale in his landscapes. While his paintings of this period continue Middleton's symbolic interests, they also marked a re-engagement with Surrealism. In addition, paintings such as Matinée reveal unexpected new influences, such as advertising hoardings placed in the middle of a field or on a mountain, which appealed to him as social comment as well as for the visually striking juxtapositions they suggested.

Dickon Hall, March 2019

Ford Arthur W Cview full entry
Reference: see Jasper52 auction, NY, Wed, Apr 24, 2019 , lot 60: Artist: ARTHUR W. C. FORD
Print Title: Off Port Jackson
Medium: Sheet-fed gravure
Printing Date: 1930's
Printed in the USA
Image Size approx: 8 x 6.5 inches

Reserve: $30.00
photograph?
Sunday’s Garden - Growing Heideview full entry
Reference: Sunday’s Garden - Growing Heide by Lesley Harding and Kendrah Morgan

Sunday’s garden explores how Sunday and John Reed transformed a once-neglected former dairy farm in Heidelberg into a lush artist’s colony teeming with life.
Edited by Lesley Harding and Kendrah Morgan, both curators at Heide Museum of Modern Art, the book was researched using many of the Library's collections.
Publishing details: Publisher: The Miegunyah Press in association with Heide Museum of Modern Art and State Library Victoria
Available to read in the Library
Reed Sunday and Johnview full entry
Reference: Sunday’s Garden - Growing Heide by Lesley Harding and Kendrah Morgan

Sunday’s garden explores how Sunday and John Reed transformed a once-neglected former dairy farm in Heidelberg into a lush artist’s colony teeming with life.
Edited by Lesley Harding and Kendrah Morgan, both curators at Heide Museum of Modern Art, the book was researched using many of the Library's collections.
Publishing details: Publisher: The Miegunyah Press in association with Heide Museum of Modern Art and State Library Victoria
Available to read in the Library
gold Australian view full entry
Reference: see Bounty: Nineteenth-century South Australian gold and silver by Robert Reason

[’Bounty: Nineteenth-century South Australian gold and silver celebrates the creativity and tenacity of South Australia’s colonial artisans, including John Pace, C.E. Firnhaber, Julius Schomburgk, Henry Steiner and J.M. Wendt. This handsome volume examines different aspects of nineteenth-century society through such items as the communion silver used in churches, the 1885 Adelaide gold pound, Friendly Society medallions, civic ceremonial regalia and presentation objects for important citizens and sporting events.’]
Publishing details: Silver vinyl hardback, 300 x 248 mm, 132 pages, full colour throughout, 204 illustrations

Contemporary Australian Artview full entry
Reference: see Cross-Currents in Contemporary Australian Art by Traudi Allen [to be indexed]
Covers work from the 1940s to the late 1990s, identifying intersecting aims and ideas.
Full contents • Introduction. Art comes out: tracing the development of contemporary art
• 1. A Continuing romance: the biography of the tree
• 2. Managing modernism: Australian artistic movements since 1940
• 3. A Female space: Australian women's art
• 4. Take away or eat here? Decisions on the digestion of Asian images
• 5. Picturing life together: the community and the visual arts
• 6. Racial and sexual versions: the art of minority cultures
• 7. Portraits in prayer: Eastern philosophies in Australian art
• Conclusion. Everything is cool again: the contemporary context.
 
Notes Includes index.
Bibliography: p. 169-174.
Publishing details: Craftsman House, c2001 
184 p. : ill. (some col.)
Zimmer Klausview full entry
Reference: Klaus Zimmer glass artist / with an introduction by Johannes Schreiter ; and essays by Geoffrey Edwards, Patrick Hutchings, Alex Selenitsch, Caroline Swash, Jenny Zimmer, and a memoire by the artist (Edited by Jenny Zimmer.
Bibliography: pages 238-240.)
Publishing details: Macmillan, 2000 
240 pages : illustrations (some colour) [Also issued in a limited edition of 50 copies, in a slipcase, with a collage and a watercolour painting incorporating the artist's signature bound into front of book.]
Ref: 1000
Piggott Rosslyndview full entry
Reference: Rosslynd piggott : i sense you, but i cannot see you / Jane Devery (author) ; Jennifer Higgie (author)
Publishing details: National Gallery of Victoria, 2019. Quarto, lettered cloth, pp. 134, illustrated.
Ref: 1000
Piggott Rosslyndview full entry
Reference: Rosslynd Piggott : suspended breath / Jason Smith ; with contributions by Juliana Engberg & Merryn Gates
by Smith, Jason, 1966- [
[’“Rosslynd Piggott: I sense you but I cannot see you” is the most comprehensive survey to date of one of Australia’s leading contemporary artists, charting a remarkable oeuvre encompassing painting, drawing, photography, textiles, video, installation and sculpture.The exhibition features more than 100 artworks, in varying media, linked by ideas that have sustained Piggott from the beginning of her career in Melbourne in the early 1980s, such as dream states and Surrealism, synaesthesia and sensory perception, the beauty of gardens and the natural world and the poetics of space and place. This volume includes written contributions from Jennifer Higgie, Editorial Drector at Frieze magazine; and Jane Devery, Curator, Contemporary Art at the NGV, as well as some of the artist’s personal writings.
NotesPublished for the exhibition, Rosslynd piggott: I sense you, but I cannot see you, at the National Gallery of Victoria, Melbourne, 12 April – 18 August 2019.
‘]

Publishing details: Melbourne : National Gallery of Victoria, 1998, Quarto, lettered cloth, pp. 134, illustrated.
Ref: 1000
Muir Alexview full entry
Reference: Artarmon Galleries exhibition notes, April, 2019: Tom Thompson ( born 1923 ) wrote that his fellow artist friend Alex Muir was
influenced by European artists such as Mondrian, Delaunay, Klee, Herbin and Albers
as well as Australian artists Frank Hinder, Ralph Balson and Godfrey Miller. But in
contrast to these artists Alex’s formal design (especially in his abstract works) were
not subtractive from nature – rather they were compositions which were part of an
additive process. In his maturity Alex would commence and continue to evolve from
the very centre of the palette’s spectrum and the rectangle.

Publishing details: Artarmon Galleries April, 2019
Ref: 1000
Seserko Adriana view full entry
Reference: see Vince Day Fine Art, April, 2019: Reflections of Home,| Adriana Seserko, 19 April - 12 May.
REFLECTIONS OF HOME

Only too aware that I am at risk of sounding like a broken record, I find myself revisiting old territory. That I have ventured this same well-trodden road is little wonder. With previous exhibitions, I touched upon the reality of climate change, its ugly stain upon the planet, and the implications involved for all inhabitants of the earth. By the means of brush, paint, and canvas, I had attempted to educate the viewer, painting all that was in danger of being lost. The core of this exhibition remains much the same. The artworks comment on the destruction of the natural world, focusing on the interconnectedness of all life on earth, biodiversity, and the need for immediate change.
As the old adage goes, where there is life there is hope. By choosing to paint in an aesthetically beautiful way, drawing inspiration from the wonder and majesty of the natural world, one becomes more acutely conscious of the loss. It is this magnificent creature and this striking ecosystem facing destruction, not just an unknown and therefore uncared for “thing” that is being destroyed. To witness life in all it’s splendor is to discern hope and with that hope lays the capacity for change.
Reflections of Home as the title suggests, looks to Australia, my home, chronicling the transformation of an ancient continent disfigured by the extravagance and apathy of society in the 21st century. With an insatiable appetite for luxury, material riches, and power, Australia too is on track to complete environmental ruin. One need not look far to see how the environment is ailing. Step outside and behold. From the record-breaking heat, extensive loss of animal life, degraded and perishing ecosystems, raging wildfires, drought, polluted and toxic waterways, coral bleaching, and oceans full of plastic, the shadow of climate change is seen and felt. Humanity has only itself to blame. An ever increasing population, the growth of coal powered cities, an over reliance on petrol guzzling vehicles, mismanagement of water, over development driven by ego and greed, and excessive land clearing has helped to seal our fate. It is only sad that all life on earth must suffer as a consequence.
If each and every one of us worked to better our own backyards, making small alterations to our lives, the threat posed by global warming could be surmounted. All it takes is knowledge, some sacrifice, and people power to make a difference. As put by Confucius, The strength of a nation derives from the integrity of the home.

Adriana Seserko April 2019
 
Kyle Danview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Cummings Elisabethview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Greenwood Hollyview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Chaffey Nicoleview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Malherbe Robertview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Thomson Annview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Pike Charmaineview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Jenkins Paulaview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Hart Amanda Penroseview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Culliton Lucyview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
McDonald Wendyview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Done Kenview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Barrett-Clark Fionaview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Buchan Simonview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Amor Rickview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Bieniek Natashaview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Bokor Johnview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Mombassa Regview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Milne Rachelview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Riddle Jenniferview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Henry Belyndaview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Frazer Neilview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Hananiah Carlaview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
How Cliffordview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Allen Timview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Olsen Johnview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Rubuntja Mervynview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Macleod Euanview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
NgaliamettaLukeview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Ngaliametta Mavisview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Sciberras Lukeview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Pareroultja Ivyview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Murphy Idrisview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Warren Guyview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Xioping Zhouview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Tonkin Maryview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Chen Junview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Tyerman Steveview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Meagher Julianview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Jones Alanview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Kovacs Ildikoview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Anderson Natalieview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Harding Nicholasview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Tangney Janeview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Wilson Ralphview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Ferguson Nickview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Jones Lauraview full entry
Reference: see A painted landscape : across Australia from bush to coast / Amber Creswell Bell. Includes biographical references. ‘This book forms an aesthetic study of the Australian landscape as seen, experienced and expressed by the Australian artists who choose to paint it. Surveying 50 artists working in various mediums and depicting varied terrains, A Painted Landscape showcases an incredible diversity of landscapes and in doing so, dispels the myth that Australia is all 'beach and bush'. Focusing on contemporary landscape painters, this is Australia in the 21st century through a specifically creative lens.
Notes Includes bibliographical references.’
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2018,
271 pages : colour illustrations, colour portraits ;
Mesiti Angelicaview full entry
Reference: A communion of stranger gestures / Angelica Mesiti ; [essays by] Justin Clemens, François Quintin ; editors: Talia Linz and Alexie Glass-Kantor.
‘Angelica Mesiti- A Communion of Stranger Gestures is the first significant publication dedicated to chronicling the practice of one of Australia's leading contemporary artists. The 224-page, full colour book has been designed by Formist to reflect the elegance and beauty of Mesiti's approach, with a subtle aesthetic nod to the ideas around communication and transmission that she often explores. Two major new texts have been commissioned to expand the field of writing around Mesiti's body of work, from leading Australian academic and writer Justin Clemens, and Director of Lafayette Anticipations, Paris, Franpois Quintin. A Communion of Stranger Gestures also includes an in-depth artist interview with Artspace Executive Director Alexie Glass-Kantor and Curator Talia Linz, along with nine original short texts on new and existing works over the last ten years. The publication ties in with Mesiti's first solo institutional presentation, Relay League, which was commissioned by Artspace earlier this year, curated by Glass-Kantor and Deputy Director Michelle Newton. The work takes as its departure point a Morse code message transmitted by the French Navy on 31 January 1997 to signal the imminent demise of this communication method. Mesiti interprets the dots and dashes of this final poetic phrase through music, choreography, non-verbal communication and sculpture. A Communion of Stranger Gestures features extensive imagery from the development and presentation of this exciting new work, which is touring to Art Sonje Center, Seoul, in addition to nine venues across Australia including Griffith University Art Gallery, Brisbane, and Ian Potter Museum of Art, Melbourne. Recently shortlisted for the 9th edition of the prestigious Prix Meurice for contemporary art and with a residency at the Centre National de la Danse in Paris, Mesiti is increasingly establishing her reputation as one of Australia's most outstanding artists. Working with the mediums of video and installation, and incorporating music and performance, her practice expands ideas of collective behaviour, social dynamics and human subjectivity through non-verbal forms of language and communication, exchange and adapted methods of expression. Mesiti has exhibited extensively at institutions and biennales worldwide, including the 19th Biennale of Sydney, 2014; 13th Istanbul Biennial, 2nd Aichi Triennale, 5th Auckland Triennial and 11th Sharjah Biennale, 2013; and 1st Kochi-Mizuris Biennale, 2012; as well as at the Palais de Tokyo and Centre Pompidou, Paris; Barbican Centre, London; Jewish Museum, New York; Kunstmuseum, Bonn; Haus der Kulturen der Welt, Berlin; Museo Reina SofYa, Madrid; Tate Modern, London; Tokyo Metropolitan Museum of Photography; and Para Site, Hong Kong.’
Publishing details: Schwartz City, 2017,
Wooloomooloo, NSW : Artspace 
223 pages : colour illustrations
Ref: 1000
Payes Soniaview full entry
Reference: Transformations : the art of Sonia Payes by Ashley Crawford, Includes bibliographical references.
Publishing details: Port Melbourne, Victoria : Thames & Hudson, 2016,
271 pages : chiefly colour photographs
Ref: 1000
Picturing the Pacificview full entry
Reference: Picturing the Pacific - Joseph Banks and the shipboard artists of Cook and Flinders, by James Taylor. Includes index of artworks and artists.
[‘For over 50 years between the 1760s and the early 19th century, the pioneers who sailed from Europe to explore the Pacific brought back glimpses of this new world in the form of oil paintings, watercolours and drawings - a sensational view of a part of the world few would ever see. Today these works represent a fascinating and inspiring perspective from the frontier of discovery.

It was Sir Joseph Banks, President of the Royal Society, who popularised the placement of professional artists on British ships of exploration. They captured striking and memorable images of everything they encountered: exotic landscapes, beautiful flora and fauna, as well as remarkable portraits of indigenous peoples. These earliest views of the Pacific, particularly Australia, were designed to promote the new world as enticing, to make it seem familiar, to encourage further exploration and, ultimately, British settlement.

Drawing on both private and public collections from around the world, this lavish book collects together oil paintings, watercolours, drawings, prints and other documents from those voyages, and presents a unique glimpse into an age where science and art became irrevocably entwined.’]
Publishing details: Adlard Coles, 2018, 256pp, hc, dw, colour Illustrations.
Supercahrgedview full entry
Reference: Supercharged : the car in contemporary culture / Institute of Modern Art. Exhibition curated by Vanessa McRae.
Includes bibliographical references.
Publishing details: Fortitude Valley, Qld. : Institute of Modern Art, c2006 
[48] p. : col. ill
Ref: 1000
cars in Australian artview full entry
Reference: see Supercharged : the car in contemporary culture / Institute of Modern Art. Exhibition curated by Vanessa McRae.
Includes bibliographical references.
Publishing details: Fortitude Valley, Qld. : Institute of Modern Art, c2006 
[48] p. : col. ill
Treatment: Six Public Artworksview full entry
Reference: Treatment: Six Public Artworks at the Western Treatment Plant. Bishop, Cameron and Cross, David 2015, Treatment: six public artworks at the western treatment plant, Edited by Bell, Catherin, Evans, Megan, Cole Chicka, Bindi, Panigirakis, Spiros, McGrath, Shane and Noble, Techa, Melbourne Water, Western Treatment Plant, Vic., 2015/11/14 - 2015/11/21,
Treatment was a public art project that brought together six Australian artists who each developed temporary commissions in response to the extraordinary Melbourne Water Treatment Facility in Werribee, west of Melbourne. This book, Treatment: Six Public Artworks at the Western Treatment Plant, documents the project. The book structurally and materially takes the reader on the bus tour of these works, in a series of photo essays from that perspective. In between these photo essays are a series of texts and some of the archival material that informed the artists. The idiosyncratic typography, inverted materiality (coated for text, uncoated for photographs) and emoji cover all point to the rich irreverence of the artworks and the curatorial gesture.
Publishing details: Melbourne, Vic., Melbourne Water; Wyndham City. , 2015
Ref: 1000
What is Performance Artview full entry
Reference: What is performance art? - Australian perspectives / editied by Adam Geczy and Mimi Kelly.
"An anthology of critical reflections on performance art from Australian scholars, curators and artists, 1970s to 2010s." -- Back cover.
Full contents • Introduction: What is Performance Art / Adam Geczy
• Part I Histories
• Imaginary, Symbolic, Real: A Short History of Performance / Rex Butler
• 'To Give Lip': Why Art Writing went Hand-in-Hand with the Appearance of Performance Art in Australia / Heather Barker and Charles Green
• Performance Art-Live and on Screen / Anne Marsh
• Encounters with Performance/Art: Then and Now / Sarah Miller
• Space-Actant-Event: A Performance Art Criterion / Laini Burton
• Performance Disturbance: Performance Art and Sculpture / Charles Green
• Performativity and Indigenous Art / Ian McLean
• Part II Theories
[’This new volume takes a look at the rich history of performance art in Australia through a multitude of perspectives. With thirty-nine contributions by scholars, curators and artists covering more than three decades of practice, readers will enjoy both a comprehensive overview of the local performance art landscape and a rich trove of personal reflections from some of its pioneers and main proponents.’]
Publishing details: Sydney, NSW : Power Publications, 2018, 424 pages : illustrations, photographs, portraits
Ref: 1000
Utopian Slumpsview full entry
Reference: Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
Ref: 1000
Wallis Amber a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
SHEA Caleb a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
MARTORELL DYLAN a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
STEWART ESTHER
a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
BINNS FERGUS a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
WALKER JAKE a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
BERKOWITZ LAUREN
a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
RODDA MARK
a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
HOLLENBACH MISHA
a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
GRAY NATHAN
a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
LEE RHYS
a Utopian Slump artist, 2010–2014

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Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
LEWER RICHARD a Utopian Slump artist, 2010–2014

view full entry
Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
MESTROM SANNÉ
a Utopian Slump artist, 2010–2014

view full entry
Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
GEIKIE STARLIE
a Utopian Slump artist, 2010–2014

view full entry
Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
ASQUITH STEVEN
a Utopian Slump artist, 2010–2014

view full entry
Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
JEPPE THOMAS
a Utopian Slump artist, 2010–2014

view full entry
Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
MACKINNON WILLIAM
a Utopian Slump artist, 2010–2014

view full entry
Reference: see Utopian Slumps 2007 - 2009 : the Collingwood Years. from website: ‘Utopian Slumps operated as an art gallery in Melbourne, Australia, from 2007 to 2014. Melissa Loughnan, Utopian Slumps’ founding director, shifted the business to a consulting agency in 2015, through which she continues to manage public art projects, write, and perform art advisory and freelance curatorial work.
Utopian Slumps has developed and implemented numerous large-scale public art installations and private art projects. Previous projects include an editioned series of works with artist Mark Rodda for the Citadines Hotel, Bourke Street, Melbourne; art consultant to Tourism Victoria for their Lost and Found Hotel, 2010 and 2011; Hortus with Folk Architects and artist Lauren Berkowitz – the temporary activation of the Docklands Harbour Esplanade, a tender awarded by Places Victoria, 2012-16; consultant to Lend Lease on a major public artwork for Craigieburn Central awarded to Laura Woodward and Jem Selig Freeman, 2013-14; consultant and artist mentor for the inaugural Kisho Prize at Melbourne Central for the GPT Group, awarded to Hamish Munro, 2014; consultant to Little Projects and Hickory Group on a foyer installation for their Central South Yarra development with artist Caleb Shea, 2015; consultant to Anna Schwartz Gallery on two major foyer installations with artists Brendan Van Hek and Daniel Crooks for M Docklands; consultant to Right Angle Studio on art for the Three Thousand Apartment; consultant to GPT Group on public art and cultural activation for Highpoint; and consultant to Neometro and BKK Architects on a major public artwork for their Jewell Station development, Brunswick, awarded to Fleur Summers, 2016.
Current projects include consultant to Six Degrees Architects on the redevelopment of Dandenong Masonic Hall into a public art gallery; ongoing consulting to GPT Group for Melbourne Central and art advisory services to private clients.’]
Publishing details: Melbourne : Utopian Slumps ; 2011 
224 p. : ill. (some col.)
Artemisview full entry
Reference: Remembering ARTEMIS : a Western Australian Women's Art Forum / edited by Gemma Weston
Publishing details: Crawley, Western Australia : UWA Publishing, 2018 
viii, 143 pages, 16 unnumbered pages of plates : illustrations (some colour), portraits (some colour), facsimiles (some colour)
Ref: 1000
Open Spatial Workshopview full entry
Reference: The complete guide to Open Spatial Workshop / editor and designer : Adam Cruickshank. "A response to the practice of Melbourne based artist collective Open Spatial Workshop (Terri Bird, Bianca Hester, Scott Mitchell)."
Publishing details: Melbourne, [Victoria] : True Belief Press, 2017 
208, [48] pages : illustrations (some colour)
Ref: 1000
Kay Hanna view full entry
Reference: Notes from the shed : a journal / Hanna Kay
Publishing details: South Yarra, Vic. : Macmillan Art, c2007 
207 p. : ill. (some col.),
Ref: 1000
Kay Hanna view full entry
Reference: Hanna Kay : weightlessness : paintings 2004 - 2010 / [curated by Brad Franks ; essay by Katrina Rumley]. Notes "Published on the occasion of the exhibition Hanna Kay: Weightlessness, designed by Peter Gill and curated by Brad Franks. Muswellbrook Regional Arts Centre 25 April - 6 June 2010"--Verso t.p.
Includes bibliographical references.
Publishing details: Muswellbrook, N.S.W. : Muswellbrook Regional Arts Centre, 2010 
52 p. : col. ill.
Ref: 1000
Kay Hanna 1947-view full entry
Reference: Hanna Kay : undertow by Kay, Hanna,

Publishing details: Maitland, N.S.W. : Maitland Regional Art Gallery, 2009
Ref: 1000
Perspectivesview full entry
Reference: Perspectives / Jon Cattapan, eX de Medici. ‘"The Australian War Memorial is delighted to present this travelling exhibition ... 'Perspectives' presents the unique insights of two official artists interpreting Australian involvement in peacekeeping operations.Curators: Laura Webster and Diana Warnes. Includes bibliographical references.’
Publishing details: Australian War Memorial, [2010] 
36 p. : col. ill.
Ref: 143
de Medici eXview full entry
Reference: see Perspectives / Jon Cattapan, eX de Medici. ‘"The Australian War Memorial is delighted to present this travelling exhibition ... 'Perspectives' presents the unique insights of two official artists interpreting Australian involvement in peacekeeping operations.Curators: Laura Webster and Diana Warnes. Includes bibliographical references.’
Publishing details: Australian War Memorial, [2010] 
36 p. : col. ill.
Minimal artview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Pam Maxview full entry
Reference: Narcolepsy / Max Pam and Bob Charles
Publishing details: Sydney, N.S.W. : T&G Publishing, 2012, 1 v. (unpaged) : col. ill
Ref: 1000
Narcolepsyview full entry
Reference: see Narcolepsy / Max Pam and Bob Charles
Publishing details: Sydney, N.S.W. : T&G Publishing, 2012, 1 v. (unpaged) : col. ill
Charles Bobview full entry
Reference: see Narcolepsy / Max Pam and Bob Charles
Publishing details: Sydney, N.S.W. : T&G Publishing, 2012, 1 v. (unpaged) : col. ill
Love it and leave itview full entry
Reference: Love it and leave it : Australia's creative diaspora / photographs and interviews by Nathalie Latham ; with essays by Geoffrey Batchen and Magda Keaney. "This book has been produced to accompany the exhibition Australia's creative diaspora photographed by Nathalie Latham held at the National Portrait Gallery, Commonwealth Place, Canberra, 4 May-1 July 2007" [to be indexed]
Publishing details: Sydney : T & G Pub. with assistance of the National Portrait Gallery, 2007 
151 p. : chiefly ill., ports.
Ref: 1000
Cayley Neville Henryview full entry
Reference: see Latrobe Journal no 97, March 2016, article by Mark R. Cabouret
Liquid Archiveview full entry
Reference: Liquid Archive.
19 July - 22 September 2012
Artists: Laurence Aberhart, Bashir Baraki, Adam Broomberg & Oliver Chanarin, Joyce Campbell Zoe Croggon, Mathew Jones, Leah King-Smith, Nicola Loder, Maha Maamoun, Ricky Maynard, Tom Nicholson, Patrick Pound, Raqs Media Collective, Xochitl Rivera Navarrete, Zineb Sedira, and Kit Wise
Curator: Geraldine Barlow
Archives allow us to measure the flow of time, to find patterns in the way time eddies, echoes and repeats.
Liquid Archive traces a series of connections between traditional notions of the archive, emerging technologies and questions around the ways in which memory and personal experience are incorporated into larger histories. The exhibition explores how contemporary artists are working with the archive as well as seeking to understand how technological and cultural transformation impact upon knowledge and memory.
Liquid Archive aims to reflect something of the archive as we experience it today: between analogue and digital, in a state of escalating movement and flux.
Curated by MUMA’s Senior Curator Geraldine Barlow, Liquid Archive brings invited projects together with key works from the Monash University Collection, and features the work of eight international artists/artist collectives and nine artists from Australia. Liquid Archive continues MUMA’s ongoing series of thematic survey exhibitions exploring specific discursive trajectories of relevance to wider social and political contexts.

Publishing details: Monash University Gallery, 2012
Ref: 1000
It keeps me saneview full entry
Reference: It keeps me sane- : women craft wellbeing / Enza Gandolfo & Marty Grace. Includes bibliographical references.
Publishing details: Vulgar Press, 2009 
68 p. : col. ill., ports.
Ref: 1000
craft in Australiaview full entry
Reference: see It keeps me sane- : women craft wellbeing / Enza Gandolfo & Marty Grace. Includes bibliographical references.
Publishing details: Vulgar Press, 2009 
68 p. : col. ill., ports.
women’s art in Australiaview full entry
Reference: see It keeps me sane- : women craft wellbeing / Enza Gandolfo & Marty Grace. Includes bibliographical references.
Publishing details: Vulgar Press, 2009 
68 p. : col. ill., ports.
Todd Yvonne view full entry
Reference: Dead Starlets Assoc. / by Yvonne Todd ; [catalogue essay by Justin Clemens ; edited by Robert Leonard]. ‘This showcases images from the New Zealand photographers recent exhibitions. Todd is famous for her quirky studio portraits of imaginary female characters, all suffering from some malaise or affliction, obvious or implied.’
Publishing details: Brisbane : Institute of Modern Art, c2007 
63 p.
Ref: 1000
Christie Caroline view full entry
Reference: Caroline Christie: processing paint : the life and works of Caroline Christie / Rebecca deRooy ; [edited by Iwona Polski]
Publishing details: [Perth, W.A.?] : [Caroline Christie?], 2009 
179 p. : col. ill., ports. ; 22 x 31 cm. 
Ref: 1000
Gladwell Shaunview full entry
Reference: Point of View - Afghanistan
Ref: 1000
Danko Aleks view full entry
Reference: Aleks Danko: MY FELLOW AUS-TRA-ALIENS

MY FELLOW AUS-TRA-ALIENS presented artworks spanning nearly five decades by Victorian-based artist Aleks Danko - from his earliest exhibitions in the late 1960s through to his recent large-scale installations.
Born in Adelaide in 1950 to Ukrainian émigré parents, Danko career began in his parents’ suburban garage. In 1971, after studying at the South Australian School of Art, he moved to Sydney where he became a central figure in city’s conceptual art movement. The artist has consistently drawn upon his personal history in his artworks. The suburbia of his youth with its banal, architectural forms and seemingly anti-intellectual ethos remains a consistent presence in his work, as is his family’s dark humour. He has also worked with a series of repetitive motifs, the most notable being a simple house structure, in order to re-orientate ideas from his own creative history into the present.
Although Danko is versed in a range of disciplines, his practice remains firmly grounded within the world of objects. Using language as his starting point, he transforms sound, speech, rhymes, puns and repetitions into something more concrete. Akin to poetry, these text-based pieces are short and sharp, designed to be read aloud, vocalised and performed. In addition to many objects sourced from public collections, this major survey features significant works remade or reconfigured by the artist specifically for the exhibition.
Curated by Glenn Barkley and Lesley Harding. Presented in association with Heide Museum of Modern Art.
Publisher: Museum of Contemporary Art Australia and Heide Museum of Modern Art
Author: Glenn Barkley, Lesley Harding
21cm x 26cm
Paperback
176 pages
Publishing details: MCA, Paperback
176 pages
Nicholls Michael view full entry
Reference: Mike Nicholls : a work in progress
Publishing details: Mike Nicholls], 2007 
1 v. (unpaged) : ill., port.
Ref: 1000
Geurts Jamesview full entry
Reference: Floodplain / James Geurts
“Archival photographs of the Birrarung (Yarra River) sourced from State Library Victoria, Museums Victoria and Melbourne Water collections. Photographs of Yarra River sites and neon sculptural works at historic points of intervention. Essay. Site-specific works on paper at points of river intervention, processed though reconfigured scanner as site actions. Floodplain, the new book by Melbourne-based artist James Geurts, not only traces the photographic history of Melbourne's iconic river – its floods, infrastructure and geographical significance – but expands on the cultural and environmental implications of our acts of intervention. Published to coincide with Geurts' exhibition of the same title at the National Gallery of Victoria, Floodplain forms a wider treatise about the mythology of the flood and the fallacies of environmental colonialism.” —Publisher’s website.
Full contents • (a) Archive (Archival photographs of the Birrarung (Yarra River) sourced from State Library Victoria, Museums Victoria and Melbourne Water collections. Intervention, infrastructure and flood.) (5-111)
• (b) Floodplain Series: Site Works (Photographs of Yarra River sites at historic points of intervention. Sites appear in order from the source of the Birrarung (Yarra River) to its mouth : Upper Yarra Dam; Aqueduct Sluice; Warburton Hall; Yarra Glen Trestle Bridge; Pound Bend; Heide Museum of Modern Art; Dights Falls; c3 Contemporary Art Space; Herring Island; NGV Australia; Queens Bridge; Scienceworks; Birrarung (Yarra River) Mouth) (113-142)
• Waiting for the Flood / Annika Kristensen (143-150)
• (c) From Source to Mouth: Birrarung (Yarra River) (Site-specific works on paper, at points of river intervention. Processed through reconfigured scanner as site actions.) (151-203)
• Acknowledgements (206-207)
• Colophon (208).
 
Biography/History “Employing extensive field research and various conceptual and geographic methodologies, James Geurts produces site and time-specific projects including the ongoing Embassy for Water in 2011, which helped win the bid for the 2018 European Capital for Culture in Leeuwarden, Netherlands. Geurts has exhibited his projects in galleries including White Cube, London; GEMAK, Den Haag Netherlands; Centre for Contemporary Art, Tel Aviv Israel; Art Gallery of South Australia, Adelaide; La Chambre Blanche, Quebec; and the Australian Centre for Contemporary Art.” —Publisher’s website.
Notes First edition of 600.
Project Coordinator: Sue Thornton ; Editor: Dan Rule ; Design: Paul Mylecharane, Public Office ; Text: Annika Kristensen ; Editorial Assistance: Justine Ellis and Nadiah Abdulrahim.
“This publication was made possible with the support of Melbourne Water ... [and] is supported by Australia Council for the Arts, National Gallery of Victoria, Georges Mora Foundation, State Library Victoria, Heide Museum of Modern Art, c3 Contemporary Art Space, Abbotsford Convent, Wurundjeri Land Council, Herring Island Environmental Sculpture Park, Scienceworks Museums Victoria, Upper Yarra Arts Centre, Parks Victoria, the Yarra River Keeper Association and the Port of Melbourne.” —pages 206-207.
Publishing details: Melbourne, Australia : Perimeter Editions, 2018 
208 pages : illustrations (some colour)
Ref: 1000
North Ianview full entry
Reference: Ian North : art, work, words / Maria Zagala, editor. Bibliography: p. 236-238.
Publishing details: Art Gallery of South Australia, 2018 
247 pages : illustrations, portraits (some colour)
Ref: 1000
King Grahameview full entry
Reference: I want to see further DVD
Publishing details: Frontyard Films, date?
Ref: 1000
Lee Adamview full entry
Reference: Votive / Adam Lee
“A votive is an object or offering put forward in the consecration of a vow. Often taking the form of a candle, it is left without the expectation of return or recovery. In simple terms, it is an expression and evocation of faith. It is no sleight of hand that Adam Lee chose Votive as the title of this book, the first major publication made in collaboration with the Australian artist. In a career spanning more than a decade, Lee’s painting practice has found its bearings amidst this ever-complicated, rich and loaded terrain of faith. But as this book – which spans three major exhibitions in Toronto, Melbourne and London respectively – articulates to such a degree, Lee’s works resist their very footings. For every conceptual underpinning his paintings embrace, they never fail to challenge or defy. Neither encyclopaedic nor exhaustive in its scope, Votive instead offers a succinct vantage on this increasingly rich and multifaceted painterly language.” —Publisher’s website.
Full contents • Of a great & mighty shadow (1-26)
• Lament asunder (all is dark is midnight to me) (27-63)
• Introduction / Dan Rule (67)
• Adam Lee: Painting in Volumes / Jack Willett (68-73)
• Adam Lee in conversation with Kim Dorland, September 2017 (74-82)
• This earthen tent (85-108).
 
Biography/History “Born in 1979 and based in the Macedon Ranges, north of Melbourne, Adam Lee has exhibited extensively in Australia, Europe and North America. He holds a BFA (Honours), MA and PhD from the Royal Melbourne Institute of Technology and his work is held in public and private collections in Australia and abroad.” —Publisher’s website.
Notes Text: Dan Rule, Jack Willet, Kim Dorland and Adam Lee ; Editor, Dan Rule ; Design: Hayman Design ; Editorial Assistance: Justine Ellis and Nadiah Abdulrahim. —Colophon.
First edition of 700.
Binding, Exposed bind softcover with printed and blind embossed dust jacket 
Publishing details: Published by Perimeter Editions, [2017] 
©2017 
112 pages : illustrations (chiefly colour)
Ref: 1000
Macdonald Travisview full entry
Reference: The Cavern / Travis MacDonald
The Cavern is the debut artist book by Melbourne-based painter Travis MacDonald. Drawing on key works from the last three years, the book forwards MacDonald's quietly idiosyncratic take on the more traditional genres of figuration and landscape painting, revealing a sensitivity and wit that extends to both his surroundings and that of art history. At once dreamlike in its atmosphere and palette, and dry in its humour, The Cavern speaks not so much to a wider historical narrative, but to fragments of time within it. These works read as untethered; anomalies and oddities (some subtle, some silly) punctuate and reanimate otherwise nondescript, potentially nostalgic scenes. A stretched limousine slips its way along an arched country bridge; a round-shouldered boy sits mutely at the family piano as we await the first strike of the ivories; a girl rides sidesaddle on a white horse (she wears a full-face motorcycle helmet). From his Cavern, MacDonald offers a contemplative and ever-so slightly incongruous vantage on the world as we thought we knew it. —Publisher’s website.
Notes First edition of 300.
Editors: Justine Ellis & Dan Rule ; art direction, Dan Rule ; design: Tim Coghlan.
Publishing details: Perimeter Editions, 2018, 63 pages : colour illustrations
Ref: 1000
Payne Rileyview full entry
Reference: Mad deep thoughts / Riley Payne ; text, Dan Rule
Publishing details: Australia Perimeter Editions, 2012 
1 volume (unpaged) : chiefly illustrations. Edition of 700.
Ref: 1000
Less is Moreview full entry
Reference: Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.[to be indexed]
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Burn Ianview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Cripps Peterview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Hastings Gailview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Jacks Robertview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Hunter Robertview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Kleem Geoffview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Nixon Johnview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Paramor Wendyview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Partos Paulview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
Burchill Janetview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
McCamley Jenniferview full entry
Reference: see Less is more : minimal + post-minimal in Australian art / Sue Cramer (Curator). Includes essays on 10 artists. Exhibition held at the Heide Museum of Modern Art, Victoria, 3 August-4 November 2012. Includes bibliographical references.
Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2012 
119 p. : ill. ;
colonial artview full entry
Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.
International Exhibitionsview full entry
Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.
Melbourne’s International Exhibitionsview full entry
Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.


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