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

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