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Twycross John collectorview full entry

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Twycross John collector

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]

Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Hines James art dealerview full entry

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Hines James art dealer

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]

Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Intercolonial Exhibitionsview full entry

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Intercolonial Exhibitions

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]

Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Exhibitionsview full entry

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Exhibitions

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]

Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Gully John 4 referencesview full entry

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Gully John 4 references

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]

Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Tibbits William 2 referencesview full entry

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Tibbits William 2 references

Reference: see Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by  four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]

Publishing details: Museum Victoria, Paperback, 2014, 168pp. With index.

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Streeton Arthurview full entry

Reference: ARTHUR STREETON OF LONGACRES by Volkhard Wehner. [Booksellers comment?: ‘There is a strange dichotomy between the continuing appeal of the work of Australian artist Arthur Streeton to art lovers and collectors on the one hand, and the views of many art historians on the other. This book examines the dichotomy by analysing Streeton's own views, setting his life and his art in context. ‘]
Publishing details: Mono Unlimited
Date of Publication 26/03/2008, limited edition of 100 copies.
Ref: 1009

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Streeton Arthur

Reference: ARTHUR STREETON OF LONGACRES by Volkhard Wehner. [Booksellers comment?: ‘There is a strange dichotomy between the continuing appeal of the work of Australian artist Arthur Streeton to art lovers and collectors on the one hand, and the views of many art historians on the other. This book examines the dichotomy by analysing Streeton's own views, setting his life and his art in context. ‘]

Publishing details: Mono Unlimited
Date of Publication 26/03/2008, limited edition of 100 copies.

Location: 1009

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Retrospect and Prospecview full entry

Reference: see Retrospect and Prospect - Queensland Art Gallery - Special number of Art & Australia
Publishing details: Fine Arts Press, 1983, hc, dw, 62pp

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Retrospect and Prospec

Reference: see Retrospect and Prospect - Queensland Art Gallery - Special number of Art & Australia

Publishing details: Fine Arts Press, 1983, hc, dw, 62pp

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inRetrospect 10view full entry

Reference: In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.
Ref: 1000

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inRetrospect 10

Reference: In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

Location: 1000

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Sanchez Alberto view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Sanchez Alberto

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Nordstrom Anna view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Nordstrom Anna

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Bennettview full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Bennett

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Burless Cornelia view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Burless Cornelia

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Clemmett Daniel view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Clemmett Daniel

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Bowers Dave view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Bowers Dave

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Ropar Dennis view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Ropar Dennis

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Kennedy-Altoft Fiona view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Kennedy-Altoft Fiona

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Herrmann Hilary view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Herrmann Hilary

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Looker James view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Looker James

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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McMillan James view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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McMillan James

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Van Dijk Jan view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Van Dijk Jan

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Cupcake Dolores view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Cupcake Dolores

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Bartlett Doug view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Bartlett Doug

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Mayer Erika view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Mayer Erika

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Gehweiler Fawn view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Gehweiler Fawn

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Cottrell John view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

×

Cottrell John

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Romeo Johnny view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Romeo Johnny

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Rizk Kareem view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Rizk Kareem

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Zerefos Kareena view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Zerefos Kareena

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Taninaka Mia view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Taninaka Mia

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Kareena Zerefos,view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Kareena Zerefos,

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Brookes Kelsey view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Brookes Kelsey

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Tran Kevin view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Tran Kevin

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Skerlj Laura view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Skerlj Laura

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Taaffe Luke view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Taaffe Luke

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Dawson Michelle view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Dawson Michelle

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Plowman Nic view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

×

Plowman Nic

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Morris Nick view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Morris Nick

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Morgan Nikky view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Morgan Nikky

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Shearman Rick view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Shearman Rick

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Hart Noelview full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Hart Noel

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Smith Nikky Morganview full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Smith Nikky Morgan

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Harvey Sarah view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Harvey Sarah

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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DeGroot Simon view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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DeGroot Simon

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Phibbs Stephen view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Phibbs Stephen

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Archer Troy view full entry

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’
Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Archer Troy

Reference: see In Retrospect 10 is a full colour 140-page publication ‘introducing 34 diverse contemporary artists from around the globe, represented by Retrospect Galleries, Byron Bay. Four pages are dedicated to each of the artist with an introductory biography, a light hearted Q&A style interview and three full pages of images of their recent works. Many of the artworks represented in the book are now held in private or public collections in Australia or overseas.’

Publishing details: RETROSPECT GALLERIES 52 Jonson Street Byron Bay. 2010, paperback, 140-pages.

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Presley Ryanview full entry

Reference: Ryan Presley: Prosperity by Tina Baum, Daniel Browning, Suvendrini Perera

[’This book presents selected works from Presley’s acclaimed Blood Money series, which presents the heroes and warriors of Indigenous history as figureheads on Australian banknotes, alongside documentation of the exhibition Prosperity which was shown at the IMA in Brisbane.

This beautifully presented hardcover book features a chapter by Ryan Presley on the history of the Australian colony’s first currency, the holey dollar, alongside contributions by Tina Baum, Daniel Browning, and Suvendrini Perera that explore different manifestations of currency as a tool of the colonial project.

Publishing details: Hardcover
128 pages
Ref: 1000

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Presley Ryan

Reference: Ryan Presley: Prosperity by Tina Baum, Daniel Browning, Suvendrini Perera

[’This book presents selected works from Presley’s acclaimed Blood Money series, which presents the heroes and warriors of Indigenous history as figureheads on Australian banknotes, alongside documentation of the exhibition Prosperity which was shown at the IMA in Brisbane.

This beautifully presented hardcover book features a chapter by Ryan Presley on the history of the Australian colony’s first currency, the holey dollar, alongside contributions by Tina Baum, Daniel Browning, and Suvendrini Perera that explore different manifestations of currency as a tool of the colonial project.

Publishing details: Hardcover
128 pages

Location: 1000

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Thoms Laraview full entry

Reference: Lara Thoms: Ultimate Vision - Monuments to Us. [’Ultimate Vision – Monuments to Us was a C3West project by Australian artist Lara Thoms, in collaboration with Hurstville City Council and Westfield Hurstville. Thoms specifically devised a project for the retail spaces of Westfield Hurstville that questioned youth visibility within the shopping centre, and offered an alternative image of how teenagers engage with these spaces.
Like many shopping centres, Westfield is a focal point of Hurstville. Its spaces, although privately owned appear and are treated as public. Ultimate Vision embodied the vocabulary of retail marketing, within the shopping centre, as a means of offering an alternative perspective – one with a strong focus on the local community.
For three weeks in January 2013, Thoms was artist-in-residence in Westfield Hurstville at the Hub of Democracy, a space reserved for those between 12 – 19 to spend time and vote in various categories including the 'ultimate’ time, music, smell and best person. Following this residency, Thoms worked with local teenagers to create a series of ephemeral monuments designed to alter the spaces of the shopping centre. The Screen Monument, a short film made by Thoms in collaboration with local youth, was also on display.
Produced to coincide with the project, this full colour publication features Director's Foreword by Elizabeth Ann Macgregor OBE, essays by Toby Chapman and Anne Loxley and an interview with the artist.’]
Publishing details: Museum of Contemporary Art Australia
Paperback
63 pages

Ref: 1000

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Thoms Lara

Reference: Lara Thoms: Ultimate Vision - Monuments to Us. [’Ultimate Vision – Monuments to Us was a C3West project by Australian artist Lara Thoms, in collaboration with Hurstville City Council and Westfield Hurstville. Thoms specifically devised a project for the retail spaces of Westfield Hurstville that questioned youth visibility within the shopping centre, and offered an alternative image of how teenagers engage with these spaces.
Like many shopping centres, Westfield is a focal point of Hurstville. Its spaces, although privately owned appear and are treated as public. Ultimate Vision embodied the vocabulary of retail marketing, within the shopping centre, as a means of offering an alternative perspective – one with a strong focus on the local community.
For three weeks in January 2013, Thoms was artist-in-residence in Westfield Hurstville at the Hub of Democracy, a space reserved for those between 12 – 19 to spend time and vote in various categories including the 'ultimate’ time, music, smell and best person. Following this residency, Thoms worked with local teenagers to create a series of ephemeral monuments designed to alter the spaces of the shopping centre. The Screen Monument, a short film made by Thoms in collaboration with local youth, was also on display.
Produced to coincide with the project, this full colour publication features Director's Foreword by Elizabeth Ann Macgregor OBE, essays by Toby Chapman and Anne Loxley and an interview with the artist.’]

Publishing details: Museum of Contemporary Art Australia
Paperback
63 pages

Location: 1000

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Tuffery Michelview full entry

Reference: Michel Tuffery: Transforma. Anne Loxley, Emma Bugden, Peter Johnson, Megan Monte, Kieren Monte, Alex Davies, Jagath Dheerasekara. Catalogue includes documentation of the project and party, and essays by Emma Bugden, Anne Loxley, Peter Johnson and Megan Monte.

[’Transforma was a seven week residency by New Zealand-based artist Michel Tuffery. Located in Airds in South Western Sydney, Transforma had four main components: the retrieval of cars dumped in the Woolwash area of the Upper Georges River, an outdoor sculpture studio located in the car park of Airds Bradbury Central, ongoing workshops with young people, and a series of public programs culminating in a major public event. This C3West project, commissioned by Campbelltown Arts Centre (on behalf of Campbelltown City Council) and MCA Australia, aimed to raise local awareness of the links between river health and behaviours such as arson, dumping and littering, and was the culmination of three extended residencies by Tuffery in the area. A Transforma Party was held on 12 April 2014 to celebrate the launch of Tuffery's sculpture, Buru Transforma Kangaroo - a massive bust of a kangaroo made from the bodies of cars abandoned then salvaged from the Upper Georges River. The evening featured results of Tuffery's workshops with local youth, including live performances, video projections, and woodblock prints.’]
Publishing details: Museum of Contemporary Art Australia, 2015 
81 pages : colour illustrations
Ref: 1000

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Tuffery Michel

Reference: Michel Tuffery: Transforma. Anne Loxley, Emma Bugden, Peter Johnson, Megan Monte, Kieren Monte, Alex Davies, Jagath Dheerasekara. Catalogue includes documentation of the project and party, and essays by Emma Bugden, Anne Loxley, Peter Johnson and Megan Monte.

[’Transforma was a seven week residency by New Zealand-based artist Michel Tuffery. Located in Airds in South Western Sydney, Transforma had four main components: the retrieval of cars dumped in the Woolwash area of the Upper Georges River, an outdoor sculpture studio located in the car park of Airds Bradbury Central, ongoing workshops with young people, and a series of public programs culminating in a major public event. This C3West project, commissioned by Campbelltown Arts Centre (on behalf of Campbelltown City Council) and MCA Australia, aimed to raise local awareness of the links between river health and behaviours such as arson, dumping and littering, and was the culmination of three extended residencies by Tuffery in the area. A Transforma Party was held on 12 April 2014 to celebrate the launch of Tuffery's sculpture, Buru Transforma Kangaroo - a massive bust of a kangaroo made from the bodies of cars abandoned then salvaged from the Upper Georges River. The evening featured results of Tuffery's workshops with local youth, including live performances, video projections, and woodblock prints.’]

Publishing details: Museum of Contemporary Art Australia, 2015 
81 pages : colour illustrations

Location: 1000

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Tuffery Michelview full entry

Reference: MICHEL TUFFERY MNZM
BIOGRAPHY
Born Wellington, Aotearoa | New Zealand (NZ), 1966
Heritage Polynesian—Samoan, Rarotongan (Cook Islands) and Tahitian Award Member of the New Zealand Order of Merit, 2008
Lives Wellington, NZ
EDUCATION
1990 Manoa School of Fine Arts, University of Hawaii, USA
1986–89 Bachelor of Fine Arts—Printmaking (Hons), School of Fine Arts, Otago Polytechnic, Dunedin, NZ 1980–85 ‘A’ Bursary, Newlands College, Wellington, NZ
SELECTED SOLO EXHIBITIONS
2012 Siamani Samoa, Andrew Baker Art Dealer, Brisbane
First Contact, BCA Gallery @ Volta NY, New York, NY, USA
2011 Povi VaSa, Campbelltown Arts Centre, Sydney
Siamani Samoa (Stage 2), Pataka Museum of Arts and Cultures, Porirua, NZ
Lakapi (Fifteen Aside), Solander Gallery, Wellington, NZ; New Zealand High Commission, Apia, Samoa
Siamani Samoa (Stage 1), Apia, Samoa
2009 Sampling Tahi, Staple Furniture Design, Wellington, NZ
New Works, Solander Gallery, Wellington, NZ
2008 New and Recent Works, Milbank Gallery, Whanganui, NZ
New Works, Salamander Gallery, Christchurch, NZ
Whanganui Print Series, Williams Gallery, Petone, NZ
2007 Ngaro/Blowfly the Urban Botanist, Lane Gallery, Auckland, NZ
First Contact, Pataka Museum of Arts and Cultures, Porirua, NZ; Salamander Gallery, Christchurch, NZ
2006 Tangaroa Sanctuary, Salamander Gallery, Christchurch, NZ
2005 E Taingauru Ma Rima Etu, Beachcomber Gallery, Rarotonga, Cook Islands
O le Povi Pusa Ma’ataua, Dunedin Public Art Gallery, NZ; Salamander Gallery, Christchurch, NZ
Cookie’s Portraits, The Artist’s Room, Dunedin, NZ 2004 New Works, Williams Gallery, Petone, Wellington, NZ
Riria. Lili. Riri, The Lane Gallery, Auckland, NZ
2003 Tui, Tui, Tui, Williams Gallery, Petone, Wellington, NZ
Animated Effigy, Artspace Mackay, Queensland
2002 Mata Mata, Auckland Art Gallery | Toi o Tamaki, NZ Asiasi Telei, Salamander Gallery, Christchurch, NZ
UMA, Milford Gallery, Auckland, NZ
Kawhai, Gallery 482, Brisbane, Queensland 2001 Asiasi, Janne Land Gallery, Wellington, NZ
1998 Recent Works, Hogarth Gallery, Sydney
Upeti Block Installation, Cairns Regional Gallery, Queensland
New Works on Paper, Portfolio Gallery, Auckland, NZ 1997 New Works, Centre of Contemporary Art, Christchurch, NZ
Experiments/Lithographs, Muka Studio, Grey Lynn, NZ
New Works, MacMillan Brown Centre for Pacific Studies, University of Canterbury, Christchurch, NZ
New Works, Janne Land Gallery, Wellington, NZ
Pacific Diary, Hogarth Gallery, Sydney
1996 Povi Tau Vaga (The Challenge), City Gallery Wellington | Te Whare Toi, NZ 1994 Woodcuts on Tapa, Claybrook Gallery, Auckland, NZ
New Works, Janne Land Gallery, Wellington, NZ
New Works, Michael Fowler Centre, Wellington, NZ
1992–93 Vaka Tama, Claybrook Gallery, Auckland, NZ; 331/3 Gallery, Wellington, NZ
1991 Fauna, Banana Court, Avarua, Cook Islands; Reva Reva Gallery, Papaette, Tahiti
1990 Anti Drift Net Series, ASA Gallery, Auckland, NZ; Louise Beale Gallery, Wellington, NZ
1989 Fa’a Papalagi, Fa’a Samoa, CSA Gallery, Christchurch, NZ; Louise Beale Gallery, Wellington, NZ; Marshall Syford Gallery, Dunedin, NZ
JOINT EXHIBITIONS
2010 New Zealand Landscapes (with Dick Frizzell), Williams Gallery, Petone, NZ
2006 Catherine McDonald, Carmel McSherry, Michel Tuffery—New Works, Salamander Gallery,
Christchurch, NZ
1993 Pallawah Pasifika (with Brett Graham and Jim Viveaere), University of Tasmania, Launceston 1988 What is my Identity? (with Johnny Penisula), Tautai Gallery, Maota Samoa House, Auckland, NZ

SELECTED GROUP EXHIBITIONS
2011 Edge of Elsewhere, Campbelltown Art Gallery, Sydney Oceania, City Gallery Wellington | Te Whare Toi, NZ
This is not a vitrine, this is an ocean, Waikato Museum | Te Whare Taonga o Waikato, Hamilton, NZ
Niu Warrior, Casula Powerhouse, Sydney
2010 Manuia, The American Indian Community House/BCA, New York, NY, USA
Tiaho—Contemporary Photography from Oceania, Instituto Latino de Mexico, Coyacoan, Mexico City, Mexico; Centro Cultural Multidisciplinario, El Caseton, Iztapalapa, Mexico City, Mexico; Palacio Municipal de Ciudad Nezahualcoyotl, Mexico State, Mexico
Niu Pasifik—Urban Art from the Pacific Rim, Gorman University Art Gallery, San Francisco, CA, USA
Indigenous Forum, United Nations Headquarters, New York, NY, USA
2009 Art in the Contemporary Pacific—The Great Journey: In Pursuit of the Ancestral Realm,
Kaohsiung Museum of Fine Arts, Taiwan, R.O.C.
20th Anniversary, Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia
2008–09 Le Folauga—The past coming forward: Contemporary Pacific art from Aotearoa New Zealand,
Auckland Museum | Tamaki Paenga Hira, NZ; Kaohsiung Museum of Fine Arts, Taiwan, R.O.C.
2007–17 Tangata o le Moana: The story of Pacific people in New Zealand, Museum of New Zealand | Te Papa Tongarewa, Wellington, NZ
2007 Across Oceans and Time: Art in the Contemporary Pacific, Kaohsiung Museum of Fine Arts, Taiwan, R.O.C.
2007–08 Date Line: Contemporary art from the Pacific, Neuer Berliner Kunstverein (NBK) Gallery, Berlin, Germany; Lütze Museum City Gallery, Sindelfingen, Germany; Stadgalerie Kiel, Kiel, Germany
2006–08 Pasifika Styles, Cambridge Museum of Archaeology and Anthropology, Cambridge, UK
2004 Paradise Now? Contemporary Art from the Pacific, Asia Society, New York, NY, USA
2001–05 Islands in the Sun: Prints by Indigenous artists of Australia and the Australasian region, National Gallery of Australia, Canberra; Te Puna o Waiwhetu Christchurch Art Gallery, NZ; Adam Art Gallery | Te Pataka Toi, Wellington, NZ; Papua New Guinea Museum and Art Gallery, Port Moresby, Papua New Guinea; Cairns Regional Gallery, Queensland; Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia
2001 Fourth Australian Print Exhibition and Symposium, National Gallery of Australia, Canberra 2000–01 Te Ao Tawhito/Te Ao Hou, Maui Arts and Cultural Centre, Hawaii, USA; Art Museum of Missoula,
MT, USA
1999 Third Asia-Pacific Triennial of Contemporary Art (APT3), Queensland Art Gallery, Brisbane
1998 Wakè Nâimâ’ (Creating Together), Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia

Paringa Ou, Cook Islands Library and Museum, Rarotonga, Cook Islands; Fiji Museum | Vale ni Yaya Maroroi, Suva, Fiji; Fishers Gallery, Auckland, NZ; Museum of Culture, Avarua, Cook Islands
1993 International Print Exhibition, Machida City Museum of Graphic Art, Tokyo, Japan
First Asia-Pacific Triennial of Contemporary Art (APT1), Queensland Art Gallery, Brisbane International Print Exhibition, University of Hawai’i, Hilo, Hawaii, USA
1990 Pacific Rim Bookworks, University of California, Santa Barbara, CA, USA; (travelling to New Zealand, Canada, Australia and Japan)
1986 Youth Exhibition, YMCA, Dunedin, NZ
SELECTED BIBLIOGRAPHY
Brown, Warwick. 100 New Zealand Artists, Godwit Publishing, Auckland, 1996
Caughey, Elizabeth and Gow, John. Contemporary New Zealand Art 3, Bateman Publishing,
Auckland, 2000
Finlayson, Claire. This Thing in the Mirror: Self Portraits by New Zealand Artists, Craig Potton Publishing, Nelson, 2004
Gnecchi, Dr Elisabetta. Oceania, Ruscone, Mondadori Electa Spa Ufficio Iconografico Publishers, Milano, 2009
Keith, Hamish, OBE. The Big Picture a history of New Zealand art since 1642, Random House, Auckland, 2007
McAloon, William. Art at Te Papa, Te Papa Press, Wellington, 2009
Mallon, Sean. Samoan Art & Artists: O Measina a Samoa, Craig Potton Publishers, Nelson;
University of Hawai’i Press, Honolulu, 2002
Mallon, Sean; and Pereira, Pandora Fulimalo (editors). Pacific art niu sila: the Pacific dimension
of contemporary New Zealand arts, Te Papa Press, Wellington, 2002
Mallon, Sean; and Pereira, Pandora Fulimalo (editors). Speaking in Colour: Conversations with
artists of Pacific Island heritage, Te Papa Press, Wellington, 1997
Newell, Dr Jenny, Pacific Art in Detail, The British Museum Press, London, United Kingdom, 2011
Stead, Oliver. Art Icons of New Zealand ‘Lines in the Sand’, David Bateman Publishers, Auckland, 2008
Stevenson, Dr Karen. The Frangipani Is Dead: Contemporary Pacific Art in New Zealand, 1985– 2000, Huia Publishers, Wellington, 2008
Thomas, Nicholas. Possessions: Indigenous Art/Colonial Culture, Thames and Hudson, London, 1999
Tolnay, Alexander; Devenport, Rhana. Date Line: zeitgenössische Kunst des Pazifik (contemporary art from the Pacific), Ostfildern/NBK, Neuer Berliner Kunstverein, Berlin, 2007
Vivieare, Jim. ‘About the Artist: Michel Tuffery’, The Contemporary Pacific, 22:2, University of Hawai’i Press, Honolulu, 2010

AOTEAROA
PUBLIC COLLECTIONS
Museum of New Zealand | Te Papa Tongarewa, Wellington, NZ Auckland Art Gallery | Toi o Tamaki, NZ
Auckland Museum | Tamaki Paenga Hira, NZ
Christchurch Art Gallery | Te Puna o Waiwhetu, NZ Christchurch City Council, NZ
Museum of Wellington City & Sea, NZ
National Library of New Zealand | Te Puna Matauranga o Aotearoa, Wellington, NZ Pataka Museum of Arts and Cultures | Te Marae O Te Umu Kai O Hau, Porirua, NZ Puke Ariki, New Plymouth, NZ
Te Manawa Museum of Art, Science and History, Palmerston North, NZ
The Dowse Art Museum, Lower Hutt, NZ
Ministry of Foreign Affairs and Trade, Wellington, NZ
Ministry of Internal Affairs, Wellington, NZ
Porirua City Council, Porirua, NZ
Royal New Zealand Police College, Porirua, NZ
The University of Auckland | Te Whare Wananga o Tamakimakaurau, NZ University of Canterbury | Te Whare Wananga o Waitaha, Christchurch, NZ University of Otago | Te Whare Wananga o Otago, Dunedin, NZ
Wellington City Council, NZ
Air New Zealand, Wellington, NZ
Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, R.O.C.
Machida City Museum of Graphic Arts, Tokyo, Japan
National Gallery of Australia, Canberra
National Maritime Museum, Sydney
Queensland Art Gallery, Brisbane
Cairns Regional Gallery, Queensland
British Museum, London, UK
Museum für Völkerkunde, Frankfurt, Germany
Agence de Développement de la Culture Kanak, Nouméa, New Caledonia Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia
National Museum of the Cook Islands, Avarua, Rarotonga, Cook Islands Permanent Mission of New Zealand to the United Nations, New York, NY, USA
ASIA AUSTRALIA
EUROPE PACIFIC
USA


Publishing details: from:
Andrew Baker Art Dealer
26 Brookes Street • Bowen Hills Qld 4006 07 3252 2292 • 0412 990 356
info@andrew-baker.com • www.andrew-baker.com

×

Tuffery Michel

Reference: MICHEL TUFFERY MNZM
BIOGRAPHY
Born Wellington, Aotearoa | New Zealand (NZ), 1966
Heritage Polynesian—Samoan, Rarotongan (Cook Islands) and Tahitian Award Member of the New Zealand Order of Merit, 2008
Lives Wellington, NZ
EDUCATION
1990 Manoa School of Fine Arts, University of Hawaii, USA
1986–89 Bachelor of Fine Arts—Printmaking (Hons), School of Fine Arts, Otago Polytechnic, Dunedin, NZ 1980–85 ‘A’ Bursary, Newlands College, Wellington, NZ
SELECTED SOLO EXHIBITIONS
2012 Siamani Samoa, Andrew Baker Art Dealer, Brisbane
First Contact, BCA Gallery @ Volta NY, New York, NY, USA
2011 Povi VaSa, Campbelltown Arts Centre, Sydney
Siamani Samoa (Stage 2), Pataka Museum of Arts and Cultures, Porirua, NZ
Lakapi (Fifteen Aside), Solander Gallery, Wellington, NZ; New Zealand High Commission, Apia, Samoa
Siamani Samoa (Stage 1), Apia, Samoa
2009 Sampling Tahi, Staple Furniture Design, Wellington, NZ
New Works, Solander Gallery, Wellington, NZ
2008 New and Recent Works, Milbank Gallery, Whanganui, NZ
New Works, Salamander Gallery, Christchurch, NZ
Whanganui Print Series, Williams Gallery, Petone, NZ
2007 Ngaro/Blowfly the Urban Botanist, Lane Gallery, Auckland, NZ
First Contact, Pataka Museum of Arts and Cultures, Porirua, NZ; Salamander Gallery, Christchurch, NZ
2006 Tangaroa Sanctuary, Salamander Gallery, Christchurch, NZ
2005 E Taingauru Ma Rima Etu, Beachcomber Gallery, Rarotonga, Cook Islands
O le Povi Pusa Ma’ataua, Dunedin Public Art Gallery, NZ; Salamander Gallery, Christchurch, NZ
Cookie’s Portraits, The Artist’s Room, Dunedin, NZ 2004 New Works, Williams Gallery, Petone, Wellington, NZ
Riria. Lili. Riri, The Lane Gallery, Auckland, NZ
2003 Tui, Tui, Tui, Williams Gallery, Petone, Wellington, NZ
Animated Effigy, Artspace Mackay, Queensland
2002 Mata Mata, Auckland Art Gallery | Toi o Tamaki, NZ Asiasi Telei, Salamander Gallery, Christchurch, NZ
UMA, Milford Gallery, Auckland, NZ
Kawhai, Gallery 482, Brisbane, Queensland 2001 Asiasi, Janne Land Gallery, Wellington, NZ
1998 Recent Works, Hogarth Gallery, Sydney
Upeti Block Installation, Cairns Regional Gallery, Queensland
New Works on Paper, Portfolio Gallery, Auckland, NZ 1997 New Works, Centre of Contemporary Art, Christchurch, NZ
Experiments/Lithographs, Muka Studio, Grey Lynn, NZ
New Works, MacMillan Brown Centre for Pacific Studies, University of Canterbury, Christchurch, NZ
New Works, Janne Land Gallery, Wellington, NZ
Pacific Diary, Hogarth Gallery, Sydney
1996 Povi Tau Vaga (The Challenge), City Gallery Wellington | Te Whare Toi, NZ 1994 Woodcuts on Tapa, Claybrook Gallery, Auckland, NZ
New Works, Janne Land Gallery, Wellington, NZ
New Works, Michael Fowler Centre, Wellington, NZ
1992–93 Vaka Tama, Claybrook Gallery, Auckland, NZ; 331/3 Gallery, Wellington, NZ
1991 Fauna, Banana Court, Avarua, Cook Islands; Reva Reva Gallery, Papaette, Tahiti
1990 Anti Drift Net Series, ASA Gallery, Auckland, NZ; Louise Beale Gallery, Wellington, NZ
1989 Fa’a Papalagi, Fa’a Samoa, CSA Gallery, Christchurch, NZ; Louise Beale Gallery, Wellington, NZ; Marshall Syford Gallery, Dunedin, NZ
JOINT EXHIBITIONS
2010 New Zealand Landscapes (with Dick Frizzell), Williams Gallery, Petone, NZ
2006 Catherine McDonald, Carmel McSherry, Michel Tuffery—New Works, Salamander Gallery,
Christchurch, NZ
1993 Pallawah Pasifika (with Brett Graham and Jim Viveaere), University of Tasmania, Launceston 1988 What is my Identity? (with Johnny Penisula), Tautai Gallery, Maota Samoa House, Auckland, NZ

SELECTED GROUP EXHIBITIONS
2011 Edge of Elsewhere, Campbelltown Art Gallery, Sydney Oceania, City Gallery Wellington | Te Whare Toi, NZ
This is not a vitrine, this is an ocean, Waikato Museum | Te Whare Taonga o Waikato, Hamilton, NZ
Niu Warrior, Casula Powerhouse, Sydney
2010 Manuia, The American Indian Community House/BCA, New York, NY, USA
Tiaho—Contemporary Photography from Oceania, Instituto Latino de Mexico, Coyacoan, Mexico City, Mexico; Centro Cultural Multidisciplinario, El Caseton, Iztapalapa, Mexico City, Mexico; Palacio Municipal de Ciudad Nezahualcoyotl, Mexico State, Mexico
Niu Pasifik—Urban Art from the Pacific Rim, Gorman University Art Gallery, San Francisco, CA, USA
Indigenous Forum, United Nations Headquarters, New York, NY, USA
2009 Art in the Contemporary Pacific—The Great Journey: In Pursuit of the Ancestral Realm,
Kaohsiung Museum of Fine Arts, Taiwan, R.O.C.
20th Anniversary, Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia
2008–09 Le Folauga—The past coming forward: Contemporary Pacific art from Aotearoa New Zealand,
Auckland Museum | Tamaki Paenga Hira, NZ; Kaohsiung Museum of Fine Arts, Taiwan, R.O.C.
2007–17 Tangata o le Moana: The story of Pacific people in New Zealand, Museum of New Zealand | Te Papa Tongarewa, Wellington, NZ
2007 Across Oceans and Time: Art in the Contemporary Pacific, Kaohsiung Museum of Fine Arts, Taiwan, R.O.C.
2007–08 Date Line: Contemporary art from the Pacific, Neuer Berliner Kunstverein (NBK) Gallery, Berlin, Germany; Lütze Museum City Gallery, Sindelfingen, Germany; Stadgalerie Kiel, Kiel, Germany
2006–08 Pasifika Styles, Cambridge Museum of Archaeology and Anthropology, Cambridge, UK
2004 Paradise Now? Contemporary Art from the Pacific, Asia Society, New York, NY, USA
2001–05 Islands in the Sun: Prints by Indigenous artists of Australia and the Australasian region, National Gallery of Australia, Canberra; Te Puna o Waiwhetu Christchurch Art Gallery, NZ; Adam Art Gallery | Te Pataka Toi, Wellington, NZ; Papua New Guinea Museum and Art Gallery, Port Moresby, Papua New Guinea; Cairns Regional Gallery, Queensland; Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia
2001 Fourth Australian Print Exhibition and Symposium, National Gallery of Australia, Canberra 2000–01 Te Ao Tawhito/Te Ao Hou, Maui Arts and Cultural Centre, Hawaii, USA; Art Museum of Missoula,
MT, USA
1999 Third Asia-Pacific Triennial of Contemporary Art (APT3), Queensland Art Gallery, Brisbane
1998 Wakè Nâimâ’ (Creating Together), Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia

Paringa Ou, Cook Islands Library and Museum, Rarotonga, Cook Islands; Fiji Museum | Vale ni Yaya Maroroi, Suva, Fiji; Fishers Gallery, Auckland, NZ; Museum of Culture, Avarua, Cook Islands
1993 International Print Exhibition, Machida City Museum of Graphic Art, Tokyo, Japan
First Asia-Pacific Triennial of Contemporary Art (APT1), Queensland Art Gallery, Brisbane International Print Exhibition, University of Hawai’i, Hilo, Hawaii, USA
1990 Pacific Rim Bookworks, University of California, Santa Barbara, CA, USA; (travelling to New Zealand, Canada, Australia and Japan)
1986 Youth Exhibition, YMCA, Dunedin, NZ
SELECTED BIBLIOGRAPHY
Brown, Warwick. 100 New Zealand Artists, Godwit Publishing, Auckland, 1996
Caughey, Elizabeth and Gow, John. Contemporary New Zealand Art 3, Bateman Publishing,
Auckland, 2000
Finlayson, Claire. This Thing in the Mirror: Self Portraits by New Zealand Artists, Craig Potton Publishing, Nelson, 2004
Gnecchi, Dr Elisabetta. Oceania, Ruscone, Mondadori Electa Spa Ufficio Iconografico Publishers, Milano, 2009
Keith, Hamish, OBE. The Big Picture a history of New Zealand art since 1642, Random House, Auckland, 2007
McAloon, William. Art at Te Papa, Te Papa Press, Wellington, 2009
Mallon, Sean. Samoan Art & Artists: O Measina a Samoa, Craig Potton Publishers, Nelson;
University of Hawai’i Press, Honolulu, 2002
Mallon, Sean; and Pereira, Pandora Fulimalo (editors). Pacific art niu sila: the Pacific dimension
of contemporary New Zealand arts, Te Papa Press, Wellington, 2002
Mallon, Sean; and Pereira, Pandora Fulimalo (editors). Speaking in Colour: Conversations with
artists of Pacific Island heritage, Te Papa Press, Wellington, 1997
Newell, Dr Jenny, Pacific Art in Detail, The British Museum Press, London, United Kingdom, 2011
Stead, Oliver. Art Icons of New Zealand ‘Lines in the Sand’, David Bateman Publishers, Auckland, 2008
Stevenson, Dr Karen. The Frangipani Is Dead: Contemporary Pacific Art in New Zealand, 1985– 2000, Huia Publishers, Wellington, 2008
Thomas, Nicholas. Possessions: Indigenous Art/Colonial Culture, Thames and Hudson, London, 1999
Tolnay, Alexander; Devenport, Rhana. Date Line: zeitgenössische Kunst des Pazifik (contemporary art from the Pacific), Ostfildern/NBK, Neuer Berliner Kunstverein, Berlin, 2007
Vivieare, Jim. ‘About the Artist: Michel Tuffery’, The Contemporary Pacific, 22:2, University of Hawai’i Press, Honolulu, 2010

AOTEAROA
PUBLIC COLLECTIONS
Museum of New Zealand | Te Papa Tongarewa, Wellington, NZ Auckland Art Gallery | Toi o Tamaki, NZ
Auckland Museum | Tamaki Paenga Hira, NZ
Christchurch Art Gallery | Te Puna o Waiwhetu, NZ Christchurch City Council, NZ
Museum of Wellington City & Sea, NZ
National Library of New Zealand | Te Puna Matauranga o Aotearoa, Wellington, NZ Pataka Museum of Arts and Cultures | Te Marae O Te Umu Kai O Hau, Porirua, NZ Puke Ariki, New Plymouth, NZ
Te Manawa Museum of Art, Science and History, Palmerston North, NZ
The Dowse Art Museum, Lower Hutt, NZ
Ministry of Foreign Affairs and Trade, Wellington, NZ
Ministry of Internal Affairs, Wellington, NZ
Porirua City Council, Porirua, NZ
Royal New Zealand Police College, Porirua, NZ
The University of Auckland | Te Whare Wananga o Tamakimakaurau, NZ University of Canterbury | Te Whare Wananga o Waitaha, Christchurch, NZ University of Otago | Te Whare Wananga o Otago, Dunedin, NZ
Wellington City Council, NZ
Air New Zealand, Wellington, NZ
Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, R.O.C.
Machida City Museum of Graphic Arts, Tokyo, Japan
National Gallery of Australia, Canberra
National Maritime Museum, Sydney
Queensland Art Gallery, Brisbane
Cairns Regional Gallery, Queensland
British Museum, London, UK
Museum für Völkerkunde, Frankfurt, Germany
Agence de Développement de la Culture Kanak, Nouméa, New Caledonia Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia
National Museum of the Cook Islands, Avarua, Rarotonga, Cook Islands Permanent Mission of New Zealand to the United Nations, New York, NY, USA
ASIA AUSTRALIA
EUROPE PACIFIC
USA

Publishing details: from:
Andrew Baker Art Dealer
26 Brookes Street • Bowen Hills Qld 4006 07 3252 2292 • 0412 990 356
info@andrew-baker.com • www.andrew-baker.com

Location:

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Bowery Leighview full entry

Reference: Leigh Bowery: Take A Bowery - the art and (larger than) life of Leigh Bowery. By Gary Carsley.
[’Take a Bowery: The Art and (larger than) Life of Leigh Bowery examined the extraordinary contribution to performance, fashion design and visual culture of the late Australian-born, London-based performance artist, Leigh Bowery. Incorporating previously unseen archival material, video footage of live performances, costumes, photographs and other works, the exhibition presented a comprehensive insight into the life of Bowery the artist, the performer and the individual.

Born in Sunshine, Melbourne in 1961, Bowery moved to London in 1980 at the height of the post-punk era and rapidly positioned himself at the centre of the city’s club scene, meeting and working with some of the most influential artists, designers and filmmakers of the time. As a fashion designer, nightclub impresario, performance artist, stylist, aspiring pop star and painter’s model, Bowery was involved in creating some of the most indelible looks and images of the 1980s and early 1990s. While working across a range of media, Bowery was ultimately an artist who used his own body as a canvas, bringing a radical and refreshing presence to the established traditions within which he worked.

Initially interested in a career as a fashion designer, Bowery’s creations were invariably made to be worn on his own unique body. Over six feet tall, fleshy and pale, Bowery emphasised and distorted his body through clothing, accessories, make-up and prosthetics to achieve a ‘total look’ that constantly reinvented his appearance.

Bowery’s prominence in the London club scene was consolidated when he ran the era’s most influential club night, Taboo in Leicester Square, from 1985 to 1987. His appearances at nightclubs developed into stand-alone performances in galleries and other venues, notably at London’s Anthony d’Offay Gallery (1988) and Serpentine Gallery (1989), as well as in Tokyo, New York and throughout Europe. His only public appearance in Australia was at Melbourne Town Hall in 1987, where Bowery presented an outrageous fashion parade of his own designs.

Take a Bowery: The Art and (larger than) Life of Leigh Bowery was the most comprehensive exhibition to date on Bowery’s work, showcasing over 80 designs from 1982 to 1994, including fashion items, club wear, performance outfits and accessories. Also featured were a number of works created in collaboration with others, including films by Welsh artist Cerith Wyn Evans and American filmmaker Charles Atlas; documentation of dance performances with British choreographer Michael Clark; performances with his band Minty; and photographs by Fergus Greer.

Bowery’s work as a favourite model for Lucian Freud, often labelled as the greatest living figurative painter, was represented by three etchings and a major painting, Leigh Under the Skylight (1994). Also included was a wide selection of archival material, including sketches, club fliers, press releases, invitations and magazines, as well as Bowery’s journal, written on his first arrival in London.‘]
Publishing details: MCA, 2003, Paperback
184 pages

×

Bowery Leigh

Reference: Leigh Bowery: Take A Bowery - the art and (larger than) life of Leigh Bowery. By Gary Carsley.
[’Take a Bowery: The Art and (larger than) Life of Leigh Bowery examined the extraordinary contribution to performance, fashion design and visual culture of the late Australian-born, London-based performance artist, Leigh Bowery. Incorporating previously unseen archival material, video footage of live performances, costumes, photographs and other works, the exhibition presented a comprehensive insight into the life of Bowery the artist, the performer and the individual.

Born in Sunshine, Melbourne in 1961, Bowery moved to London in 1980 at the height of the post-punk era and rapidly positioned himself at the centre of the city’s club scene, meeting and working with some of the most influential artists, designers and filmmakers of the time. As a fashion designer, nightclub impresario, performance artist, stylist, aspiring pop star and painter’s model, Bowery was involved in creating some of the most indelible looks and images of the 1980s and early 1990s. While working across a range of media, Bowery was ultimately an artist who used his own body as a canvas, bringing a radical and refreshing presence to the established traditions within which he worked.

Initially interested in a career as a fashion designer, Bowery’s creations were invariably made to be worn on his own unique body. Over six feet tall, fleshy and pale, Bowery emphasised and distorted his body through clothing, accessories, make-up and prosthetics to achieve a ‘total look’ that constantly reinvented his appearance.

Bowery’s prominence in the London club scene was consolidated when he ran the era’s most influential club night, Taboo in Leicester Square, from 1985 to 1987. His appearances at nightclubs developed into stand-alone performances in galleries and other venues, notably at London’s Anthony d’Offay Gallery (1988) and Serpentine Gallery (1989), as well as in Tokyo, New York and throughout Europe. His only public appearance in Australia was at Melbourne Town Hall in 1987, where Bowery presented an outrageous fashion parade of his own designs.

Take a Bowery: The Art and (larger than) Life of Leigh Bowery was the most comprehensive exhibition to date on Bowery’s work, showcasing over 80 designs from 1982 to 1994, including fashion items, club wear, performance outfits and accessories. Also featured were a number of works created in collaboration with others, including films by Welsh artist Cerith Wyn Evans and American filmmaker Charles Atlas; documentation of dance performances with British choreographer Michael Clark; performances with his band Minty; and photographs by Fergus Greer.

Bowery’s work as a favourite model for Lucian Freud, often labelled as the greatest living figurative painter, was represented by three etchings and a major painting, Leigh Under the Skylight (1994). Also included was a wide selection of archival material, including sketches, club fliers, press releases, invitations and magazines, as well as Bowery’s journal, written on his first arrival in London.‘]

Publishing details: MCA, 2003, Paperback
184 pages

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Bowery Leighview full entry

Reference: Leigh Bowery : beautified provocation / Herausgeber/editor Rene Zechlin, Kunstverein Hannover ; Beiträge / contributions, Nicola Bowery ... [et al.]

Publishing details: Hannover : Kunstverein Hannover ; Heidelberg : Kehrer, 2008
Ref: 1000

×

Bowery Leigh

Reference: Leigh Bowery : beautified provocation / Herausgeber/editor Rene Zechlin, Kunstverein Hannover ; Beiträge / contributions, Nicola Bowery ... [et al.]

Publishing details: Hannover : Kunstverein Hannover ; Heidelberg : Kehrer, 2008

Location: 1000

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Bowery Leighview full entry

Reference: Leigh Bowery : the life and times of an icon / by Sue Tilley

Publishing details: London : Hodder & Stoughton, 1997
Ref: 1000

×

Bowery Leigh

Reference: Leigh Bowery : the life and times of an icon / by Sue Tilley

Publishing details: London : Hodder & Stoughton, 1997

Location: 1000

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Bowery Leighview full entry

Reference: Leigh Bowery / introduction by Hilton Als; [edited by Robert Violette]. The first monograph on Melbourne-born conceptual performance artist Leigh Bowery. Very From Douglas Stewart Fine Books, 2020:
‘Any appraisal of Leigh as a performer tends to involve words like punk, kink, drag, camp, schlock. To my mind he transcends those concepts. Thanks to his twisted imagination and wit, he was able to soar above modish trashiness and establish himself as a subversive artist.’ – John Richardson, The New Yorker
Texts, interviews, photographs and other contributions by Leigh Bowery, Nicola Bowery, Tom Bowery, Cerith Wyn Evans, Charles Atlas, Lucian Freud, Bruce Bernard, Michael Clark, Nick Knight, Rifat Ozbek, Fergus Greer, Sue Tilley, Richard Torry, John Maybury, Annie Leibovitz and others.
Leigh Bowery (1961–94) was a performance artist, fashion designer, nightclub sensation, art object, trained pianist, aspiring pop-star and above all an icon whose influence traversed the music, art, film and fashion worlds. Perhaps his best-known role was as the nude model for some of Lucian Freud’s most famous and powerful paintings – ironic for the man whose costumes were legendary and which famously frightened taxi drivers, persuaded Japanese tourists to queue for hours and inspired fashion gurus from Vivienne Westwood to John Galliano.
This highly illustrated book is the first and only complete monograph on the artist and includes previously unpublished photographs and ephemera from Bowery’s personal archive. It documents his life and work from his arrival in London in 1980 from Sunshine, Australia, through his collaborations with the dancer Michael Clark, his proprietorship of the infamous 1980s nightclub Taboo, his outrageous performances in New York, London and Tokyo, to his formation of the pop group Minty and in the 1990s his most famous incarnation as muse for the painter Lucian Freud, whose portraits of Bowery hang in the Tate, the Metropolitan Museum of Art and other museums around the world.
Hilton Als, a staff writer for The New Yorker, also writes for American Vogue and Artforum and is the author of The Women (Farrar, Strauss & Giroux, 1997).


Publishing details: London : Violette Editions, 1998
Ref: 1000

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Bowery Leigh

Reference: Leigh Bowery / introduction by Hilton Als; [edited by Robert Violette]. The first monograph on Melbourne-born conceptual performance artist Leigh Bowery. Very From Douglas Stewart Fine Books, 2020:
‘Any appraisal of Leigh as a performer tends to involve words like punk, kink, drag, camp, schlock. To my mind he transcends those concepts. Thanks to his twisted imagination and wit, he was able to soar above modish trashiness and establish himself as a subversive artist.’ – John Richardson, The New Yorker
Texts, interviews, photographs and other contributions by Leigh Bowery, Nicola Bowery, Tom Bowery, Cerith Wyn Evans, Charles Atlas, Lucian Freud, Bruce Bernard, Michael Clark, Nick Knight, Rifat Ozbek, Fergus Greer, Sue Tilley, Richard Torry, John Maybury, Annie Leibovitz and others.
Leigh Bowery (1961–94) was a performance artist, fashion designer, nightclub sensation, art object, trained pianist, aspiring pop-star and above all an icon whose influence traversed the music, art, film and fashion worlds. Perhaps his best-known role was as the nude model for some of Lucian Freud’s most famous and powerful paintings – ironic for the man whose costumes were legendary and which famously frightened taxi drivers, persuaded Japanese tourists to queue for hours and inspired fashion gurus from Vivienne Westwood to John Galliano.
This highly illustrated book is the first and only complete monograph on the artist and includes previously unpublished photographs and ephemera from Bowery’s personal archive. It documents his life and work from his arrival in London in 1980 from Sunshine, Australia, through his collaborations with the dancer Michael Clark, his proprietorship of the infamous 1980s nightclub Taboo, his outrageous performances in New York, London and Tokyo, to his formation of the pop group Minty and in the 1990s his most famous incarnation as muse for the painter Lucian Freud, whose portraits of Bowery hang in the Tate, the Metropolitan Museum of Art and other museums around the world.
Hilton Als, a staff writer for The New Yorker, also writes for American Vogue and Artforum and is the author of The Women (Farrar, Strauss & Giroux, 1997).

Publishing details: London : Violette Editions, 1998

Location: 1000

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McKenna Noelview full entry

Reference: South of no North : Laurence Aberhart, William Eggleston, Noel McKenna. Curator Glenn Barkley. Contributing essays by Glenn Barkley and Noel McKenna.Published on the occasion of the exhibition (8 March - 5 May 2013) curated by Gelnn Barkley, this book presents the work of Australian artist Noel McKenna alongside that of American photographer William Eggleston and New Zealand photographer Laurence Aberhart. The exhibition this book relates to is part of an ongoing series of exhibitions aiming to show Australian artists within broader global dialogues.


Publishing details: Museum of Contemporary Art, 2013 
iii, 140 pages. 1st edition of 750 copies.chiefly colour illustrations, some colour photographs, some colour portraits

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McKenna Noel

Reference: South of no North : Laurence Aberhart, William Eggleston, Noel McKenna. Curator Glenn Barkley. Contributing essays by Glenn Barkley and Noel McKenna.Published on the occasion of the exhibition (8 March - 5 May 2013) curated by Gelnn Barkley, this book presents the work of Australian artist Noel McKenna alongside that of American photographer William Eggleston and New Zealand photographer Laurence Aberhart. The exhibition this book relates to is part of an ongoing series of exhibitions aiming to show Australian artists within broader global dialogues.

Publishing details: Museum of Contemporary Art, 2013 
iii, 140 pages. 1st edition of 750 copies.chiefly colour illustrations, some colour photographs, some colour portraits

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Laurence Janetview full entry

Reference: Janet Laurence : after nature / editor: Rachel Kent. "First published on the occasion of the exhibition Janet Laurence : after nature, Museum of Contemporary Art Australia, 1 March-10 June 2019." -- page [2]. Includes bibliography [’For over 30 years Janet Laurence has explored the interconnection of all living things - animal, plant, mineral - through her multi-disciplinary practice. Working across painting, sculpture, installation, photography and video, she has employed diverse materials to explore the natural world in all its beauty and complexity, as well as the environmental challenges it faces today: the epoch of the Anthropocene. Laurence's MCA Australia survey brings together key works and themes across the artist's practice over a thirty-year period. From her alchemical works of the early 1990s utilising metal plates, minerals and organic substances, and lightboxes, to her installations of the 2000s and beyond incorporating plant and animal specimens within transparent vitrines and 'wunderkammer' environments, Laurence's works reflect on the fragility natural world, its plight and potential restoration.’]
Publishing details: Museum of Contemporary Art Australia, 2019 
264 pages : colour illustrations
Ref: 1000

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Laurence Janet

Reference: Janet Laurence : after nature / editor: Rachel Kent. "First published on the occasion of the exhibition Janet Laurence : after nature, Museum of Contemporary Art Australia, 1 March-10 June 2019." -- page [2]. Includes bibliography [’For over 30 years Janet Laurence has explored the interconnection of all living things - animal, plant, mineral - through her multi-disciplinary practice. Working across painting, sculpture, installation, photography and video, she has employed diverse materials to explore the natural world in all its beauty and complexity, as well as the environmental challenges it faces today: the epoch of the Anthropocene. Laurence's MCA Australia survey brings together key works and themes across the artist's practice over a thirty-year period. From her alchemical works of the early 1990s utilising metal plates, minerals and organic substances, and lightboxes, to her installations of the 2000s and beyond incorporating plant and animal specimens within transparent vitrines and 'wunderkammer' environments, Laurence's works reflect on the fragility natural world, its plight and potential restoration.’]

Publishing details: Museum of Contemporary Art Australia, 2019 
264 pages : colour illustrations

Location: 1000

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The Nationalview full entry

Reference: The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: Abdul-Rahman Abdullah Lucas Abela Tony Albert Robert Andrew Rushdi Anwar Kylie Banyard Troy-Anthony Baylis Eric Bridgeman Hannah Brontë Peta Clancy Selma Nunay Coulthard, Noreen Hudson, Clara Inkamala, Reinhold Inkamala, Vanessa Inkamala & Gloria Pannka from Iltja Ntjarra Many Hands Art Centre Sam Cranstoun Fayen d'Evie Cherine Fahd Janet Fieldhouse Nicholas Folland Julie Fragar Tony Garifalakis Mira Gojak Agatha Gothe-Snape Amala Groom Tina Havelock Stevens Andrew Hazewinkel Amrita Hepi Eliza Hutchison Daisy Japulija, Sonia Kurarra, Tjigila Nada Rawlins & Ms Uhl Eugenia Lim Ross Manning Linda Marrinon Tara Marynowsky Pilar Mata Dupont Mish Meijers & Tricky Walsh Sally M. Nangala Mulda Tom Mùller James Newitt James Nguyen nova Milne Clare Peake Izabela Pluta Tom Polo Sean Rafferty Eugenia Raskopoulos Luke Roberts Thom Roberts Julia Robinson Koji Ryui Sandra Selig Mark Shorter Curtis Taylor & Ishmael Marika Nat Thomas Teo Treloar The Unbound Collective Willoh S. Weiland Kaylene Whiskey Mumu Mike Williams Melanie Jame Wolf List of Works Biographies Acknowledgements. [to be indexed]
Publishing details: Art Gallery of New South Wales, 2019 
Ref: 1000

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The National

Reference: The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: Abdul-Rahman Abdullah Lucas Abela Tony Albert Robert Andrew Rushdi Anwar Kylie Banyard Troy-Anthony Baylis Eric Bridgeman Hannah Brontë Peta Clancy Selma Nunay Coulthard, Noreen Hudson, Clara Inkamala, Reinhold Inkamala, Vanessa Inkamala & Gloria Pannka from Iltja Ntjarra Many Hands Art Centre Sam Cranstoun Fayen d'Evie Cherine Fahd Janet Fieldhouse Nicholas Folland Julie Fragar Tony Garifalakis Mira Gojak Agatha Gothe-Snape Amala Groom Tina Havelock Stevens Andrew Hazewinkel Amrita Hepi Eliza Hutchison Daisy Japulija, Sonia Kurarra, Tjigila Nada Rawlins & Ms Uhl Eugenia Lim Ross Manning Linda Marrinon Tara Marynowsky Pilar Mata Dupont Mish Meijers & Tricky Walsh Sally M. Nangala Mulda Tom Mùller James Newitt James Nguyen nova Milne Clare Peake Izabela Pluta Tom Polo Sean Rafferty Eugenia Raskopoulos Luke Roberts Thom Roberts Julia Robinson Koji Ryui Sandra Selig Mark Shorter Curtis Taylor & Ishmael Marika Nat Thomas Teo Treloar The Unbound Collective Willoh S. Weiland Kaylene Whiskey Mumu Mike Williams Melanie Jame Wolf List of Works Biographies Acknowledgements. [to be indexed]

Publishing details: Art Gallery of New South Wales, 2019 

Location: 1000

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Durie Jamesview full entry

Reference: Inspired : the ideas that shape & create my design / Jamie Durie
Publishing details: Jamie Durie Publishing, c2006 
183, [9] p. : col. ill., plans
Ref: 1000

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Durie James

Reference: Inspired : the ideas that shape & create my design / Jamie Durie

Publishing details: Jamie Durie Publishing, c2006 
183, [9] p. : col. ill., plans

Location: 1000

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Contemporary artview full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Contemporary art

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Abdullah Abdul-Rahman view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Abdullah Abdul-Rahman

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Abela Lucas view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Abela Lucas

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Albert Tony view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Albert Tony

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Andrew Robert view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Andrew Robert

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Wiggs Davidview full entry

Reference: from artit’s website:
DAVID WIGGS
1964
SYDNEY, AUSTRALIA
Education
MOSMAN HIGH SCHOOL
DIPLOMA OF HORTICULTURE – RYDE SCHOOL OF HORTICULTURE, 1985 – 1988
ASSOCIATE DIPLOMA OF FINE ART MAJORING IN PAINTING – SEAFORTH COLLEGE OF TAFE, 1989 – 1991
POST GRADUATE CERTIFICATE PAINTING – SEAFORTH COLLEGE OF TAFE, 1995 – 1996
Awards And Art Prizes
WARATAH FESTIVAL OF SYDNEY DRAWING AWARD 1969
CHROMA ACRYLICS AWARD 1989/90/91
SEAFORTH TAFE PAINTING AWARD 1991
LLOYD REES MEMORIAL YOUTH ART PRIZE 1992 – COMMENDED
ROYAL ART SOCIETY OF NSW DRAWING PRIZE – 2004
NORTH SYDNEY ART PRIZE 2005 – HIGHLY COMMENDED
NORTH SYDNEY ART PRIZE 2007 – LOCAL ARTIST AWARD
NSW PARLIAMENT PLEIN AIR PAINTING PRIZE – FINALIST – 2012
NORTHBRIDGE ART PRIZE – COMMENDED – 2012
NORTHBRIDGE ART PRIZE-WINNER-2017
MOSMAN, WARRINGAH, NORTH SYDNEY & WILLOUGHBY ART PRIZE – FINALIST – 2002 – 2004
MOSMAN ART PRIZE – FINALIST – 2009
NORTH SYDNEY ART PRIZE – FINALIST – 2009
NSW PARLIAMENT PLEIN AIR PAINTING PRIZE – FINALIST – 2012
NSW PARLIAMENT PLEIN AIR PAINTING PRIZE – FINALIST – 2013
OUTBACK OPEN ART PRIZE-FINALIST-2015
WARRINGAH ART PRIZE – FINALIST – 2015
HUNTERS HILL ART PRIZE – FINALIST – 2016
MISSION TO SEAFARERS ART PRIZE – FINALIST – 2016
WARRINGAH ART PRIZE – FINALIST – 2016
GOSFORD ART PRIZE – FINALIST – 2016
HUNTERS HILL ART PRIZE – FINALIST – 2017
NORTHERN BEACHES ART PRIZE FINALIST-2017
MISSION TO SEAFARERS ART PRIZE FINALIST-2017
GOSFORD ART PRIZE FINALIST-2017
MOSMAN ART PRIZE-FINALIST-2017
HORNSBY ART PRIZE FINALIST-2017
BLACKTOWN ART PRIZE FINALIST-2017
Exhibitions
AXIS GALLERY SOLO EXHIBITION 1991
MANLY REGIONAL GALLERY 1991 JOINT EXHIBITION
MANLY REGIONAL GALLERY JOINT EXHIBITION 1998
MANLY ARTS FESTIVAL SOLO EXHIBITION – 2001
OPENED D.WIGGS ART STUDIO/GALLERY – EXHIBITION SPACE TERREY HILLS 2003
THE BASE SPACE – JOINT EXHIBITION 2003
MANLY BEACH EXHIBITION – OCEAN CARE DAY 2003
TAP GALLERY WORLD ENVIRONMENT DAY EXHIBITION 2003/04
THE BASE SPACE – 2004
ST AUGUSTINES – ART 4 ART SHOW 2004
THE KINGS SCHOOL ART SHOW – 2004
INCLUSIONS IN MOSMAN, WARRINGAH, NORTH SYDNEY & WILLOUGHBY COUNCIL ANNUAL ART PRIZES – 02/03/04
MANLY BEACH – OCEAN CARE DAY – 2004
LIVERPOOL HOSPITAL – 2005
THE ARTROOM UPSTAIRS MANLY EXHIBITION – 2005
ST AUGUSTINES ART 4 ART SHOW 2005
THE KINGS SCHOOL ART SHOW – 2005
GLEN STREET THEATRE – SOLO EXHIBITION 2005
WILLIAM STREET STUDIOS – 2005/06
DALE THOMAS GALLERY – 2006
GLEN STREET THEATRE – 2006
STATIONS OF THE CROSS EXHIBITION – WILLIAM STREET STUDIOS – 2007
MOSMAN MOMENTS EXHIBITION – MOAMAN ART GALLERY – 2007
NORTHERN EXPRESSIONS EXHIBITION – THE ART SANCTUARY GALLERY 2007
ETHEL STREET GALLERY – SOLO EXHIBITION – 2007
NORTH SYDNEY COUNCIL – 2008
MAY GIBBS – NUTCOTE – 2008
MOSMAN A.S. – SPRING EXHIBITION – 2008
ETHEL STREET GALLERY – SOLO EXHIBITION – 2008
MANLY ARTS FESTIVAL – THE OPENING OF DAVID WIGGS’ STUDIO/GALLERY – 2008
MANLY BEACH EXHIBITION – OCEAN CARE DAY – 2008
STATIONS OF THE CROSS EXHIBITION – WILLIAM STREET CHURCH/STUDIOS – 2009
NORTH SYDNEY COUNCIL – MOSMAN A.S. – 2009
PARLIAMENT HOUSE – SYDNEY – 2009
MLC GALLERY – SENSE OF SYDNEY EXHIBITION – 2009
MOSMAN ART GALLERY – MOSMAN DOWN UNDER EXHIBITION – 2009
ETHEL STREET GALLERY – SOLO EXHIBITION – THE BEACH,THE BUSH & THE ROAD – 2009
MOSMAN & NORTH SYDNEY ART PRIZE INCLUSIONS – 2009
STATIONS OF THE CROSS EXHIBITION – WILLIAM STREET CHURCH/STUDIOS – 2010
NORTH SYDNEY COUNCIL – CREATIVE JOURNEYS EXHIBITION – 2010
SOLO EXHIBITION – BATHERS PAVILION BALMORAL – NOVEMBER/DECEMBER – 2010
ETHEL STREET GALLERY – SOLO EXHIBITION – THE BEACH,THE BUSH & THE ROAD – 2011
NORTH HEAD HARBOUR TRUST –  MANLY ENVIRONMENT CENTRE – ECO CONFERENCE EXHIBITION 2011
LUNA PARK – ART ALONG THE BOARDWALK OPEN AIR EXHIBITION- 2011
PARLIAMENT HOUSE  -NORTHERN EXPRESSIONS EXHIBITION- 2011
ART SYDNEY -DARLING HARBOUR -SOLO EXHIBITION- 2011
MOSMAN ART GALLERY SPRING FESTIVAL – MOSMAN ART SOCIETY EXHIBITION – 2011
ETHEL STREET GALLERY-”THE BEACH, THE BUSH, THE HARBOUR AND THE LILLY” – SOLO EXHIBITION – 2011
BUTLER GOODE GALLERY – PADDINGTON – 2012
NORTH SYDNEY COUNCIL – MOSMAN ART SOCIETY EXHIBITION – 2012
ANGEL GALLERY – SOLO – 2012
MOSMAN ART GALLERY – ARTISTS OF MOSMAN 2088 – 2013
NORTH SYDNEY COUNCIL – M.A.S. – 2013
HUNTERS HILL ART PRIZE – FINALIST – 2013
WARRINGAH ART PRIZE – FINALIST – 2013
NORTH SYDNEY ART PRIZE – FINALIST – 2013
MOSMAN ART PRIZE – FINALIST – 2013
MOSMAN ART GALLERY – M.A.S, SPRING EXHIBITION – 2013
MANLY ART GALLERY – KEEPING COMPANY WITH COLLECTION – 2013
BATHERS PAVILION GALLERY – BALMORAL – SOLO – 2013
“MY HARBOUR OF WORK AND LEISURE – MY HARBOUR OF TOIL AND PLEASURE”
GALLERY 307 –EXHIBITIONS- 2013
ETHEL ST GALLERY-SOLO-2014
GALLERY 307-EXHIBITIONS-2014
MOSMAN ART GALLERY – ARTISTS OF MOSMAN 2088 – 2014
NORTH SYDNEY COUNCIL – M.A.S – 2014
HEADLAND PARK-M.A.S.–9”X5”-EXHIBITION-2014
MOSMAN ART PRIZE-FINALIST-2014
WAVERLEY ART PRIZE FINALIST- 2014
MOSMAN ART GALLERY-ARTISTS OF MOSMAN 2088-2015
ETHEL ST GALLERY-SOLO-2015
OUTBACK OPEN ART PRIZE FINALIST-BROKEN HILL ART GALLERY- 2015
WARRINGAH ART PRIZE FINALIST- 2015
GALLERY 307- SOLO EXHIBITION- 2015
MOSMAN ART GALLERY-ARTISTS OF MOSMAN-2088-2016
BATHERS’ PAVILION GALLERY- BALMORAL-SOLO-2016
“THE BEACH,THE CROWD AND THE FERRY”
HUNTERS HILL ART PRIZE FINALIST-2016
MISSION TO SEAFARERS ART PRIZE FINALIST-2016
WARRINGAH ART PRIZE FINALIST-2016
GOSFORD ART PRIZE FINALIST-2016
WARRINGAH CREATIVE SPACE EXHIBITION-TWO VIEWS-2016
GALLERY 307 – EXHIBITION – 2017
NORTH SYDNEY COUNCIL – M.A.S – 2017
CREATIVE SPACE-NORTHERN BEACHES-SOLO-2017
“THE BRIDGE,THE CROWD,THE BEACH AND THE FERRY”
MANLY ART GALLERY-“LAND” EXHIBITION-2017
MOSMAN ART GALLERY-MAS ART EXHIBITION-2017
GALLERY 307-EXHIBITION–HARBOUR PERSPECTIVES-2018
MOSMAN ART GALLERY-ARTISTS OF MOSMAN 2088-2018

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Wiggs David

Reference: from artit’s website:
DAVID WIGGS
1964
SYDNEY, AUSTRALIA
Education
MOSMAN HIGH SCHOOL
DIPLOMA OF HORTICULTURE – RYDE SCHOOL OF HORTICULTURE, 1985 – 1988
ASSOCIATE DIPLOMA OF FINE ART MAJORING IN PAINTING – SEAFORTH COLLEGE OF TAFE, 1989 – 1991
POST GRADUATE CERTIFICATE PAINTING – SEAFORTH COLLEGE OF TAFE, 1995 – 1996
Awards And Art Prizes
WARATAH FESTIVAL OF SYDNEY DRAWING AWARD 1969
CHROMA ACRYLICS AWARD 1989/90/91
SEAFORTH TAFE PAINTING AWARD 1991
LLOYD REES MEMORIAL YOUTH ART PRIZE 1992 – COMMENDED
ROYAL ART SOCIETY OF NSW DRAWING PRIZE – 2004
NORTH SYDNEY ART PRIZE 2005 – HIGHLY COMMENDED
NORTH SYDNEY ART PRIZE 2007 – LOCAL ARTIST AWARD
NSW PARLIAMENT PLEIN AIR PAINTING PRIZE – FINALIST – 2012
NORTHBRIDGE ART PRIZE – COMMENDED – 2012
NORTHBRIDGE ART PRIZE-WINNER-2017
MOSMAN, WARRINGAH, NORTH SYDNEY & WILLOUGHBY ART PRIZE – FINALIST – 2002 – 2004
MOSMAN ART PRIZE – FINALIST – 2009
NORTH SYDNEY ART PRIZE – FINALIST – 2009
NSW PARLIAMENT PLEIN AIR PAINTING PRIZE – FINALIST – 2012
NSW PARLIAMENT PLEIN AIR PAINTING PRIZE – FINALIST – 2013
OUTBACK OPEN ART PRIZE-FINALIST-2015
WARRINGAH ART PRIZE – FINALIST – 2015
HUNTERS HILL ART PRIZE – FINALIST – 2016
MISSION TO SEAFARERS ART PRIZE – FINALIST – 2016
WARRINGAH ART PRIZE – FINALIST – 2016
GOSFORD ART PRIZE – FINALIST – 2016
HUNTERS HILL ART PRIZE – FINALIST – 2017
NORTHERN BEACHES ART PRIZE FINALIST-2017
MISSION TO SEAFARERS ART PRIZE FINALIST-2017
GOSFORD ART PRIZE FINALIST-2017
MOSMAN ART PRIZE-FINALIST-2017
HORNSBY ART PRIZE FINALIST-2017
BLACKTOWN ART PRIZE FINALIST-2017
Exhibitions
AXIS GALLERY SOLO EXHIBITION 1991
MANLY REGIONAL GALLERY 1991 JOINT EXHIBITION
MANLY REGIONAL GALLERY JOINT EXHIBITION 1998
MANLY ARTS FESTIVAL SOLO EXHIBITION – 2001
OPENED D.WIGGS ART STUDIO/GALLERY – EXHIBITION SPACE TERREY HILLS 2003
THE BASE SPACE – JOINT EXHIBITION 2003
MANLY BEACH EXHIBITION – OCEAN CARE DAY 2003
TAP GALLERY WORLD ENVIRONMENT DAY EXHIBITION 2003/04
THE BASE SPACE – 2004
ST AUGUSTINES – ART 4 ART SHOW 2004
THE KINGS SCHOOL ART SHOW – 2004
INCLUSIONS IN MOSMAN, WARRINGAH, NORTH SYDNEY & WILLOUGHBY COUNCIL ANNUAL ART PRIZES – 02/03/04
MANLY BEACH – OCEAN CARE DAY – 2004
LIVERPOOL HOSPITAL – 2005
THE ARTROOM UPSTAIRS MANLY EXHIBITION – 2005
ST AUGUSTINES ART 4 ART SHOW 2005
THE KINGS SCHOOL ART SHOW – 2005
GLEN STREET THEATRE – SOLO EXHIBITION 2005
WILLIAM STREET STUDIOS – 2005/06
DALE THOMAS GALLERY – 2006
GLEN STREET THEATRE – 2006
STATIONS OF THE CROSS EXHIBITION – WILLIAM STREET STUDIOS – 2007
MOSMAN MOMENTS EXHIBITION – MOAMAN ART GALLERY – 2007
NORTHERN EXPRESSIONS EXHIBITION – THE ART SANCTUARY GALLERY 2007
ETHEL STREET GALLERY – SOLO EXHIBITION – 2007
NORTH SYDNEY COUNCIL – 2008
MAY GIBBS – NUTCOTE – 2008
MOSMAN A.S. – SPRING EXHIBITION – 2008
ETHEL STREET GALLERY – SOLO EXHIBITION – 2008
MANLY ARTS FESTIVAL – THE OPENING OF DAVID WIGGS’ STUDIO/GALLERY – 2008
MANLY BEACH EXHIBITION – OCEAN CARE DAY – 2008
STATIONS OF THE CROSS EXHIBITION – WILLIAM STREET CHURCH/STUDIOS – 2009
NORTH SYDNEY COUNCIL – MOSMAN A.S. – 2009
PARLIAMENT HOUSE – SYDNEY – 2009
MLC GALLERY – SENSE OF SYDNEY EXHIBITION – 2009
MOSMAN ART GALLERY – MOSMAN DOWN UNDER EXHIBITION – 2009
ETHEL STREET GALLERY – SOLO EXHIBITION – THE BEACH,THE BUSH & THE ROAD – 2009
MOSMAN & NORTH SYDNEY ART PRIZE INCLUSIONS – 2009
STATIONS OF THE CROSS EXHIBITION – WILLIAM STREET CHURCH/STUDIOS – 2010
NORTH SYDNEY COUNCIL – CREATIVE JOURNEYS EXHIBITION – 2010
SOLO EXHIBITION – BATHERS PAVILION BALMORAL – NOVEMBER/DECEMBER – 2010
ETHEL STREET GALLERY – SOLO EXHIBITION – THE BEACH,THE BUSH & THE ROAD – 2011
NORTH HEAD HARBOUR TRUST –  MANLY ENVIRONMENT CENTRE – ECO CONFERENCE EXHIBITION 2011
LUNA PARK – ART ALONG THE BOARDWALK OPEN AIR EXHIBITION- 2011
PARLIAMENT HOUSE  -NORTHERN EXPRESSIONS EXHIBITION- 2011
ART SYDNEY -DARLING HARBOUR -SOLO EXHIBITION- 2011
MOSMAN ART GALLERY SPRING FESTIVAL – MOSMAN ART SOCIETY EXHIBITION – 2011
ETHEL STREET GALLERY-”THE BEACH, THE BUSH, THE HARBOUR AND THE LILLY” – SOLO EXHIBITION – 2011
BUTLER GOODE GALLERY – PADDINGTON – 2012
NORTH SYDNEY COUNCIL – MOSMAN ART SOCIETY EXHIBITION – 2012
ANGEL GALLERY – SOLO – 2012
MOSMAN ART GALLERY – ARTISTS OF MOSMAN 2088 – 2013
NORTH SYDNEY COUNCIL – M.A.S. – 2013
HUNTERS HILL ART PRIZE – FINALIST – 2013
WARRINGAH ART PRIZE – FINALIST – 2013
NORTH SYDNEY ART PRIZE – FINALIST – 2013
MOSMAN ART PRIZE – FINALIST – 2013
MOSMAN ART GALLERY – M.A.S, SPRING EXHIBITION – 2013
MANLY ART GALLERY – KEEPING COMPANY WITH COLLECTION – 2013
BATHERS PAVILION GALLERY – BALMORAL – SOLO – 2013
“MY HARBOUR OF WORK AND LEISURE – MY HARBOUR OF TOIL AND PLEASURE”
GALLERY 307 –EXHIBITIONS- 2013
ETHEL ST GALLERY-SOLO-2014
GALLERY 307-EXHIBITIONS-2014
MOSMAN ART GALLERY – ARTISTS OF MOSMAN 2088 – 2014
NORTH SYDNEY COUNCIL – M.A.S – 2014
HEADLAND PARK-M.A.S.–9”X5”-EXHIBITION-2014
MOSMAN ART PRIZE-FINALIST-2014
WAVERLEY ART PRIZE FINALIST- 2014
MOSMAN ART GALLERY-ARTISTS OF MOSMAN 2088-2015
ETHEL ST GALLERY-SOLO-2015
OUTBACK OPEN ART PRIZE FINALIST-BROKEN HILL ART GALLERY- 2015
WARRINGAH ART PRIZE FINALIST- 2015
GALLERY 307- SOLO EXHIBITION- 2015
MOSMAN ART GALLERY-ARTISTS OF MOSMAN-2088-2016
BATHERS’ PAVILION GALLERY- BALMORAL-SOLO-2016
“THE BEACH,THE CROWD AND THE FERRY”
HUNTERS HILL ART PRIZE FINALIST-2016
MISSION TO SEAFARERS ART PRIZE FINALIST-2016
WARRINGAH ART PRIZE FINALIST-2016
GOSFORD ART PRIZE FINALIST-2016
WARRINGAH CREATIVE SPACE EXHIBITION-TWO VIEWS-2016
GALLERY 307 – EXHIBITION – 2017
NORTH SYDNEY COUNCIL – M.A.S – 2017
CREATIVE SPACE-NORTHERN BEACHES-SOLO-2017
“THE BRIDGE,THE CROWD,THE BEACH AND THE FERRY”
MANLY ART GALLERY-“LAND” EXHIBITION-2017
MOSMAN ART GALLERY-MAS ART EXHIBITION-2017
GALLERY 307-EXHIBITION–HARBOUR PERSPECTIVES-2018
MOSMAN ART GALLERY-ARTISTS OF MOSMAN 2088-2018

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Anwar Rushdi view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

×

Anwar Rushdi

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Banyard Kylie view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

×

Banyard Kylie

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Baylis Troy-Anthony view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

×

Baylis Troy-Anthony

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Bridgeman Eric view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

×

Bridgeman Eric

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Brontë Hannah view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

×

Brontë Hannah

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Clancy Peta view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

×

Clancy Peta

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Nunay Selma Coulthardview full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Nunay Selma Coulthard

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Hudson Noreen view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

×

Hudson Noreen

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Inkamala Clara view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

×

Inkamala Clara

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Inkamala Reinhold view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Inkamala Reinhold

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Inkamala Vanessa & Gloria Pannka from Iltja Ntjarra Many Hands Art Centre view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Inkamala Vanessa & Gloria Pannka from Iltja Ntjarra Many Hands Art Centre

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Cranstoun Sam view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Cranstoun Sam

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Pannka Gloria & Inkamala Vanessa from Iltja Ntjarra Many Hands Art Centre view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Pannka Gloria & Inkamala Vanessa from Iltja Ntjarra Many Hands Art Centre

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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d'Evie Fayen view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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d'Evie Fayen

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Fahd Cherine view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Fahd Cherine

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Fieldhouse Janet view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Fieldhouse Janet

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Folland Nicholas view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Folland Nicholas

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Fragar Julie view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Fragar Julie

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Garifalakis Tony view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Garifalakis Tony

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Gojak Mira view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Gojak Mira

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Gothe-Snape Agatha view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Gothe-Snape Agatha

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Groom Amala view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Groom Amala

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Stevens Havelock Tina view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Stevens Havelock Tina

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Andrew Robertview full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Andrew Robert

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Hazewinkel Andrew view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Hazewinkel Andrew

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Hepi Amrita view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Hepi Amrita

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Hutchison Eliza view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Hutchison Eliza

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Japulija Daisy view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Japulija Daisy

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Kurarra Sonia view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Kurarra Sonia

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Nada Tjigila view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Nada Tjigila

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Rawlins & Ms Uhl view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Rawlins & Ms Uhl

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Lim Eugenia view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Lim Eugenia

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Manning Ross view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Manning Ross

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Marrinon Linda view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Marrinon Linda

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Marynowsky Tara view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Marynowsky Tara

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Dupont Pilar Mata view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Dupont Pilar Mata

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Meijers Mish & Tricky Walsh view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Meijers Mish & Tricky Walsh

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Nangala Sally Mview full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Nangala Sally M

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Walsh Trickyview full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Walsh Tricky

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Nangala Sally M. view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Nangala Sally M.

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Taylor Curtis & Ishmael Marika view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Taylor Curtis & Ishmael Marika

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Marika Ishmael & Taylor Curtis view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Marika Ishmael & Taylor Curtis

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Thomas Nat view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Thomas Nat

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Treloar Teo view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Treloar Teo

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Unbound Collective The view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Unbound Collective The

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Weiland Willoh Sview full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Weiland Willoh S

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Whiskey Kaylene view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Whiskey Kaylene

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Wolf Melanie Jame view full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Wolf Melanie Jame

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Williams Mumu Mikeview full entry

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.
Publishing details: Art Gallery of New South Wales, 2019 

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Williams Mumu Mike

Reference: see The national: new Australian art 2019 / Faith Chisholm (compiler) ; Genevieve O'Callaghan (editor). A catalogue for the second of three biennial surveys presenting the latest ideas and forms in contemporary Australian art. The National 2019: new Australian art showcases a total of 65 emerging, mid-career and established Australian artists living across the country and overseas and working in a diverse range of media. The exhibition is staged concurrently at three of Sydney's premiere cultural institutions - the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. Co-publication 204 pages, illustrated in colour 235 x 170 mm Contents: Map Directors' Foreword Essays: -Pushing from the edges: Michael Fitzgerald in conversation with Clothilde Bullen, Anna Davis, Daniel Mudie Cunningham & Isobel Parker Philip -Black box logic: Isobel Parker Philip -Dark sunshine: Daniel Mudie Cunningham -The third space: Susie Anderson in conversation with Clothilde Bullen & Anna Davis -The puzzle: of representing the problem: Patrick Pound -Future, past, present: Vanessa Berry -Camping in the shadow of the racist text: Ali Gumillya Baker Artist Pages Artists: List of Works. Biographies. Acknowledgements.

Publishing details: Art Gallery of New South Wales, 2019 

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Basing Charlesview full entry

Reference: CHARLES BASING (AUSTRALIAN, ACTIVE IN AMERICA,. lot 19, May 6, 2019, Clarke Auction Gallery: 1865-1933). Oil on Canvas. "Moorland Staten Island". Salmagundi Club label affixed verso. Signed lower right. From a Pearl River, NY estate . - Dimensions: 20" high x 24" wide
CONDITION
Surface grime. Minor scattered losses.
STARTING BID
$300.00

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Basing Charles

Reference: CHARLES BASING (AUSTRALIAN, ACTIVE IN AMERICA,. lot 19, May 6, 2019, Clarke Auction Gallery: 1865-1933). Oil on Canvas. "Moorland Staten Island". Salmagundi Club label affixed verso. Signed lower right. From a Pearl River, NY estate . - Dimensions: 20" high x 24" wide
CONDITION
Surface grime. Minor scattered losses.
STARTING BID
$300.00

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Namatjira Albert et alview full entry

Reference: Catalogue of originals by Albert Namatjira and other members of the Aranda Tribe. Includes portrait of Namatjira, catalogue of 64 works including 43 by Namatjira, the others by Otto Pareroultja, Henoch Raberaba, Enos Namatjira, etc.
Publishing details: Melbourne : Brooks Robinson Pty Ltd., 1958. Folding paper catalogue with Aboriginal dot painting design (from the Wallunqua),
Ref: 1000

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Namatjira Albert et al

Reference: Catalogue of originals by Albert Namatjira and other members of the Aranda Tribe. Includes portrait of Namatjira, catalogue of 64 works including 43 by Namatjira, the others by Otto Pareroultja, Henoch Raberaba, Enos Namatjira, etc.

Publishing details: Melbourne : Brooks Robinson Pty Ltd., 1958. Folding paper catalogue with Aboriginal dot painting design (from the Wallunqua),

Location: 1000

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Arunda Tribe artistsview full entry

Reference: see Catalogue of originals by Albert Namatjira and other members of the Aranda Tribe. Includes portrait of Namatjira, catalogue of 64 works including 43 by Namatjira, the others by Otto Pareroultja, Henoch Raberaba, Enos Namatjira, etc.
Publishing details: Melbourne : Brooks Robinson Pty Ltd., 1958. Folding paper catalogue with Aboriginal dot painting design (from the Wallunqua),

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Arunda Tribe artists

Reference: see Catalogue of originals by Albert Namatjira and other members of the Aranda Tribe. Includes portrait of Namatjira, catalogue of 64 works including 43 by Namatjira, the others by Otto Pareroultja, Henoch Raberaba, Enos Namatjira, etc.

Publishing details: Melbourne : Brooks Robinson Pty Ltd., 1958. Folding paper catalogue with Aboriginal dot painting design (from the Wallunqua),

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Aboriginal artview full entry

Reference: see Catalogue of originals by Albert Namatjira and other members of the Aranda Tribe. Includes portrait of Namatjira, catalogue of 64 works including 43 by Namatjira, the others by Otto Pareroultja, Henoch Raberaba, Enos Namatjira, etc.
Publishing details: Melbourne : Brooks Robinson Pty Ltd., 1958. Folding paper catalogue with Aboriginal dot painting design (from the Wallunqua),

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Aboriginal art

Reference: see Catalogue of originals by Albert Namatjira and other members of the Aranda Tribe. Includes portrait of Namatjira, catalogue of 64 works including 43 by Namatjira, the others by Otto Pareroultja, Henoch Raberaba, Enos Namatjira, etc.

Publishing details: Melbourne : Brooks Robinson Pty Ltd., 1958. Folding paper catalogue with Aboriginal dot painting design (from the Wallunqua),

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Namatjira Albertview full entry

Reference: Albert Namatjira : native artist / by F.W. Albrecht. Superintendent of the Finke River Mission, Hermannsburg, Copies are recorded in six Australian collections (Australian Lutheran College; Flinders University Theological Library; National Library of Australia; National Museum of Australia Library; Macquarie University Library; Museums and Art Galleries of the Northern Territory. Peter Spillett Library).
Publishing details: Central Australia. 
[Hermannsburg, N.T. : Finke River Mission, 1950]. Octavo, wrappers illustrated front and back (very lightly creased), stapled, [7] pp. Scarce.
Ref: 1000

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Namatjira Albert

Reference: Albert Namatjira : native artist / by F.W. Albrecht. Superintendent of the Finke River Mission, Hermannsburg, Copies are recorded in six Australian collections (Australian Lutheran College; Flinders University Theological Library; National Library of Australia; National Museum of Australia Library; Macquarie University Library; Museums and Art Galleries of the Northern Territory. Peter Spillett Library).

Publishing details: Central Australia. 
[Hermannsburg, N.T. : Finke River Mission, 1950]. Octavo, wrappers illustrated front and back (very lightly creased), stapled, [7] pp. Scarce.

Location: 1000

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Breninger Warren view full entry

Reference: Lovers 2014-2016
A collection of 44 images paired with 44 related poems that explore the theme of love and lovers. The poems were selected from over a longer period (1970-2016); the mixed media artwork (re-photographed pastel and charcoal on archival pigment prints) come from a series that was begun in 2014, although it is based on an earlier series, ‘Resurrection of the Living and the Dead’, which dates from 1999, and was produced in three series of 44. In his Preface, the artist notes how the pairings and combinations emerged from images encountered scattered over work tables: “The random proximity between individual images suggested relationships, intensified further by their religious context. The extreme, isolated. internalized and otherworldly intention of the-resurrection experience. seen physically close to one another, combusted into a volatile yet deeply divided and alienated love experience. The emptiness, claustrophobia and a sense of distance-existing in the spaces between the heads and the outer gaps appear all the more loaded. Contrary to this, in the presence of darkness and silence, the. faciality becomes an unexplored planetary landscape that a viewer orbits or passes over like a probe, seeing what is below, as if for the first time.” – National Library of Australia website https://trove.nla.gov.au/work/232580327?q&versionId=256982332

Publishing details: [Koo Wee Rup, Victoria] : Warren Breninger, 2016. Oblong folio ( 31 x 43 cm), lettered cloth, pp. [92], illustrated. Limited to 50 copies signed and numbered by the artist.
Ref: 1000

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Breninger Warren

Reference: Lovers 2014-2016
A collection of 44 images paired with 44 related poems that explore the theme of love and lovers. The poems were selected from over a longer period (1970-2016); the mixed media artwork (re-photographed pastel and charcoal on archival pigment prints) come from a series that was begun in 2014, although it is based on an earlier series, ‘Resurrection of the Living and the Dead’, which dates from 1999, and was produced in three series of 44. In his Preface, the artist notes how the pairings and combinations emerged from images encountered scattered over work tables: “The random proximity between individual images suggested relationships, intensified further by their religious context. The extreme, isolated. internalized and otherworldly intention of the-resurrection experience. seen physically close to one another, combusted into a volatile yet deeply divided and alienated love experience. The emptiness, claustrophobia and a sense of distance-existing in the spaces between the heads and the outer gaps appear all the more loaded. Contrary to this, in the presence of darkness and silence, the. faciality becomes an unexplored planetary landscape that a viewer orbits or passes over like a probe, seeing what is below, as if for the first time.” – National Library of Australia website https://trove.nla.gov.au/work/232580327?q&versionId=256982332

Publishing details: [Koo Wee Rup, Victoria] : Warren Breninger, 2016. Oblong folio ( 31 x 43 cm), lettered cloth, pp. [92], illustrated. Limited to 50 copies signed and numbered by the artist.

Location: 1000

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Laing Rosemaryview full entry

Reference: Rosemary Laing - Essays by Victoria Lynn and Judy Annear.
Catalogue of an exhibition held at TarraWarra Museum of Art, Healesville, 2 December 2017 – 11 February 2018.
‘Rosemary Laing is a renowned Australian artist who has worked with photography since the late 1980s. This exhibition includes major works that demonstrate her interest in how Australians have both perceived and moved through the landscape, shifting between dramatic vistas in works such as the leak and one dozen unnatural disasters in the Australian landscape series, through to her interventions in the thickest of bushland in The Paper and groundspeed series. Colonisation, political borders and boundaries, and the interface of the built and natural environment are persistent themes explored in the exhibition which will also feature a new series of works.’ – TarraWarra Museum website

Publishing details: Healesville : Tarrawarra Museum of Art, 2017. Oblong folio, illustrated boards, pp. 92, illustrated.
Ref: 1000

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Laing Rosemary

Reference: Rosemary Laing - Essays by Victoria Lynn and Judy Annear.
Catalogue of an exhibition held at TarraWarra Museum of Art, Healesville, 2 December 2017 – 11 February 2018.
‘Rosemary Laing is a renowned Australian artist who has worked with photography since the late 1980s. This exhibition includes major works that demonstrate her interest in how Australians have both perceived and moved through the landscape, shifting between dramatic vistas in works such as the leak and one dozen unnatural disasters in the Australian landscape series, through to her interventions in the thickest of bushland in The Paper and groundspeed series. Colonisation, political borders and boundaries, and the interface of the built and natural environment are persistent themes explored in the exhibition which will also feature a new series of works.’ – TarraWarra Museum website

Publishing details: Healesville : Tarrawarra Museum of Art, 2017. Oblong folio, illustrated boards, pp. 92, illustrated.

Location: 1000

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Boggs Peterview full entry

Reference: Peter Boggs : Transfigured realities, by Sasha Grishin. Extensively illustrated, biographical documentation.
[‘In an age when time is measured in nanoseconds and information is conveyed in sound bites, Peter Boggs’s art may appear as strangely anachronistic with its emphasis on timelessness and distilled beauty. His art is a triumph of slow art. His paintings are generally quite small, exquisitely crafted, with their tonality and geometry beautifully resolved. In them, everything has been specially arranged and re-arranged to the point that any further change would be to the detriment of the whole. There is something that is very intimate about his art, even diaristic, secretive and seductive, but there is no explicit narrative. The paintings are not about something, there is no obvious storyline, but at the same time they are very meaningful, they denote emotional and spiritual realities and they do this through visual and not verbal means. …I feel that his art taps into that which lies beyond the obvious, beyond the surface. Whereas the Surrealists quite often communicate this with a literary narrative, which they illustrate, Boggs communicates this through tonal means, visually exploiting sacred geometry. His is the art of ‘visual’ rather than ‘verbal’ intelligence. It is quiet and meditative and invites contemplation in search of spiritual enrichment.’ – the publisher.]
Publishing details: Melbourne : Melbourne Books, 2018. Quarto, pictorial boards, cloth spine, pp. 128, illustrated.

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Boggs Peter

Reference: Peter Boggs : Transfigured realities, by Sasha Grishin. Extensively illustrated, biographical documentation.
[‘In an age when time is measured in nanoseconds and information is conveyed in sound bites, Peter Boggs’s art may appear as strangely anachronistic with its emphasis on timelessness and distilled beauty. His art is a triumph of slow art. His paintings are generally quite small, exquisitely crafted, with their tonality and geometry beautifully resolved. In them, everything has been specially arranged and re-arranged to the point that any further change would be to the detriment of the whole. There is something that is very intimate about his art, even diaristic, secretive and seductive, but there is no explicit narrative. The paintings are not about something, there is no obvious storyline, but at the same time they are very meaningful, they denote emotional and spiritual realities and they do this through visual and not verbal means. …I feel that his art taps into that which lies beyond the obvious, beyond the surface. Whereas the Surrealists quite often communicate this with a literary narrative, which they illustrate, Boggs communicates this through tonal means, visually exploiting sacred geometry. His is the art of ‘visual’ rather than ‘verbal’ intelligence. It is quiet and meditative and invites contemplation in search of spiritual enrichment.’ – the publisher.]

Publishing details: Melbourne : Melbourne Books, 2018. Quarto, pictorial boards, cloth spine, pp. 128, illustrated.

Location: 0

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Heng Euanview full entry

Reference: HENG, Euan Heng (1945 - )
Drawings (limited edition)
‘Euan Heng was born in Oban, Argyllshire, Scotland
Publishing details: Melbourne : Niagara Galleries, 2018. Quarto, lettered wrappers, 17 folded sheets, printed recto and verso (so that by slicing the pages images will be revealed), designed by Studio Hi Ho. Limited to 70 copies signed and numbered by the artist (a further 10 artist’s proofs also issued).
Ref: 1000

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Heng Euan

Reference: HENG, Euan Heng (1945 - )
Drawings (limited edition)
‘Euan Heng was born in Oban, Argyllshire, Scotland

Publishing details: Melbourne : Niagara Galleries, 2018. Quarto, lettered wrappers, 17 folded sheets, printed recto and verso (so that by slicing the pages images will be revealed), designed by Studio Hi Ho. Limited to 70 copies signed and numbered by the artist (a further 10 artist’s proofs also issued).

Location: 1000

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Souter D Hview full entry

Reference: War cartoons. A published  collection of Souter’s war cartoons published in The Stock Journal over 1914-5.
Publishing details: Reprinted from “The Stock Journal”. Sydney : William Brooks & Company, circa 1915. Folio, illustrated wrappers, pp. [32], illustrated.
Ref: 1009

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Souter D H

Reference: War cartoons. A published  collection of Souter’s war cartoons published in The Stock Journal over 1914-5.

Publishing details: Reprinted from “The Stock Journal”. Sydney : William Brooks & Company, circa 1915. Folio, illustrated wrappers, pp. [32], illustrated.

Location: 1009

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Opie Julianview full entry

Reference: Julian Opie - by MAIDMENT, Simon; WALLIS, Pip. Published to accompany the exhibition Julian Opie at the National Gallery of Victoria, Melbourne, 9 November 2018 – 17 February 2019. Edited by Dr Simon Maidment,

Publishing details: Melbourne : National Gallery of Victoria, 2018. Large quarto, black cloth boards featuring lenticular design by the artist, pp 264, illustrated; bibliography pp. 254-257
Ref: 1000

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Opie Julian

Reference: Julian Opie - by MAIDMENT, Simon; WALLIS, Pip. Published to accompany the exhibition Julian Opie at the National Gallery of Victoria, Melbourne, 9 November 2018 – 17 February 2019. Edited by Dr Simon Maidment,

Publishing details: Melbourne : National Gallery of Victoria, 2018. Large quarto, black cloth boards featuring lenticular design by the artist, pp 264, illustrated; bibliography pp. 254-257

Location: 1000

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Chin Kevinview full entry

Reference: Structural Equality, with biographical details, 9 large illustrations.
Publishing details: Martin Browne Contemporary, 2019, 24pp
Ref: 1000

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Chin Kevin

Reference: Structural Equality, with biographical details, 9 large illustrations.

Publishing details: Martin Browne Contemporary, 2019, 24pp

Location: 1000

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Smart Jeffreyview full entry

Reference: see Look Magazine, May-June 2019, article by Hannah Hutchinson discussing the artist’s painting process. p45-51.
Publishing details: AGNSW Society, May-June, 2019.

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Smart Jeffrey

Reference: see Look Magazine, May-June 2019, article by Hannah Hutchinson discussing the artist’s painting process. p45-51.

Publishing details: AGNSW Society, May-June, 2019.

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Hannaford Tseringview full entry

Reference: see Look Magazine, May-June 2019, article by Sarah Couper
Publishing details: AGNSW Society, May-June, 2019.

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Hannaford Tsering

Reference: see Look Magazine, May-June 2019, article by Sarah Couper

Publishing details: AGNSW Society, May-June, 2019.

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Kingston George Strickland furniture makerview full entry

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Article p7-25

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Kingston George Strickland furniture maker

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Article p7-25

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Lamborne William jewellerview full entry

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Article p29-41

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Lamborne William jeweller

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Article p29-41

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Staples Sir Robert Ponsonbyview full entry

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Advertisement for Peter Walker Fine Art showing an oil painting by the artist titled Off Adelaide, 1880. p47. With information about the artist.

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Staples Sir Robert Ponsonby

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Advertisement for Peter Walker Fine Art showing an oil painting by the artist titled Off Adelaide, 1880. p47. With information about the artist.

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Denham Captain Henryview full entry

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Advertisement for J. B. Hawkins Antiques showing ac1850s pencil drawing of an Aboriginal man. Back cover. With information about the artist.

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Denham Captain Henry

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Advertisement for J. B. Hawkins Antiques showing ac1850s pencil drawing of an Aboriginal man. Back cover. With information about the artist.

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Williams William Joseph and family decoratorsview full entry

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Article on online research resiurces by Yvonne Barber.= which uses the Williams family as an example.

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Williams William Joseph and family decorators

Reference: see Australiana Magazine, May, 2019, vol 41, no. 2. Article on online research resiurces by Yvonne Barber.= which uses the Williams family as an example.

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Williams Kate decoratorview full entry

Reference: see Williams William Joseph and family - Australiana Magazine, May, 2019, vol 41, no. 2. Article on online research resiurces by Yvonne Barber.= which uses the Williams family as an example.

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Williams Kate decorator

Reference: see Williams William Joseph and family - Australiana Magazine, May, 2019, vol 41, no. 2. Article on online research resiurces by Yvonne Barber.= which uses the Williams family as an example.

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Williams Sidney decoratorview full entry

Reference: see Williams William Joseph and family - Australiana Magazine, May, 2019, vol 41, no. 2. Article on online research resiurces by Yvonne Barber.= which uses the Williams family as an example.

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Williams Sidney decorator

Reference: see Williams William Joseph and family - Australiana Magazine, May, 2019, vol 41, no. 2. Article on online research resiurces by Yvonne Barber.= which uses the Williams family as an example.

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Bray William artist brief referenceview full entry

Reference: Australiana Magazine, May, 2019, vol 41, no. 2. Article on online research resiurces by Yvonne Barber.= which uses the Williams family as an example.

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Bray William artist brief reference

Reference: Australiana Magazine, May, 2019, vol 41, no. 2. Article on online research resiurces by Yvonne Barber.= which uses the Williams family as an example.

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Decorator and Painter for Australia and New Zealand(journal)view full entry

Reference: The decorator & painter for Australia & New Zealand. Former title: Australasian decorator & painter. [to be indexed]
Publishing details: Sydney : Bishop Bros., 1924- (June 1924)- Ceased in 1970.
Ref: 1000

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Decorator and Painter for Australia and New Zealand(journal)

Reference: The decorator & painter for Australia & New Zealand. Former title: Australasian decorator & painter. [to be indexed]

Publishing details: Sydney : Bishop Bros., 1924- (June 1924)- Ceased in 1970.

Location: 1000

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Australasian decorator & painter (journalview full entry

Reference: see The decorator & painter for Australia & New Zealand. Former title: Australasian decorator & painter
Publishing details: Sydney : Bishop Bros., 1924- (June 1924)- Ceased in 1970.

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Australasian decorator & painter (journal

Reference: see The decorator & painter for Australia & New Zealand. Former title: Australasian decorator & painter

Publishing details: Sydney : Bishop Bros., 1924- (June 1924)- Ceased in 1970.

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Highfield Anna-Wiliview full entry

Reference: see The Good Weekend, SMH, 4-5 May, 2019, p26-31, article on the sculpor by Brook Turner.

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Highfield Anna-Wili

Reference: see The Good Weekend, SMH, 4-5 May, 2019, p26-31, article on the sculpor by Brook Turner.

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Osborn William Evelynview full entry

Reference: This artist may be Australian? WILLIAM EVELYN OSBORN
William Evelyn OSBORN
aka Will
1868 - 1906
Will Osborn, as he was known, was born in St Pancras, London, the eldest son of Edward M and Augusta K Osborn.  His father was an Inspector of Factories for HM government.
The artist was an early member of St Ives Arts Club and appears in the Arts Club photograph (The Studio). His address in 1894 was in Manchester, but he lived and worked in St Ives from The Terrace in 1895-6 (possibly longer), and was known to barter art works for food and lodging. In 1896 he married the artist Dorothy WORDEN, who he may have met in St Ives. She had been a member of the St Ives Arts Club since 1893, and had been exhibiting locally and in Falmouth. The couple married in Exeter, and his exhibiting address from approximately 1898 was in Exmouth. Paintings also indicate that aside from London, the artist also spent some working time in Ludlow, Shropshire.
In 1906, after suffering some time with facial neuralgia (an extremely painful condition) thought at the time to stem from dental problems, Will died in Chelsea, perhaps as a result of over-dosing on pain relief medications.
 
media
Marine and coastal painter
works and access
2 works, Permanent Col, Falmouth Art Gallery: St Ives Pier (Smeaton's) and Hayle Flats
Tate Gallery Collection (on-line): Beach at Dusk, St Ives; + 1 other
exhibitions
Notts Castle (2)
L, M; RA; RBA; ROI
1987: Selected for NAG exhibition, Looking West
memberships
STIAC
misc further info
Note: The entry has been updated with new information from David Tovey, based on research by genealogist, A Marjoram.
references
Falmouth Art Gallery (Permanent Col on-line col pls)
Hardie (2009) Artists in Newlyn & West Cornwall p339
Johnson & Greutzner
Looking West Exhibition catalogue (See Hardie 2009 for repr)
Notts Exhibition catalogue (See Hardie 2009 for repr)
Public Catalogue Foundation (2007) Cornwall & the Isles of Scilly: Oil Paintings in Public Ownership
Tovey (2009) St Ives/A Social History + addendum to update;
The Studio (Vol 5, Apr 1895)
WCAA file;

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Osborn William Evelyn

Reference: This artist may be Australian? WILLIAM EVELYN OSBORN
William Evelyn OSBORN
aka Will
1868 - 1906
Will Osborn, as he was known, was born in St Pancras, London, the eldest son of Edward M and Augusta K Osborn.  His father was an Inspector of Factories for HM government.
The artist was an early member of St Ives Arts Club and appears in the Arts Club photograph (The Studio). His address in 1894 was in Manchester, but he lived and worked in St Ives from The Terrace in 1895-6 (possibly longer), and was known to barter art works for food and lodging. In 1896 he married the artist Dorothy WORDEN, who he may have met in St Ives. She had been a member of the St Ives Arts Club since 1893, and had been exhibiting locally and in Falmouth. The couple married in Exeter, and his exhibiting address from approximately 1898 was in Exmouth. Paintings also indicate that aside from London, the artist also spent some working time in Ludlow, Shropshire.
In 1906, after suffering some time with facial neuralgia (an extremely painful condition) thought at the time to stem from dental problems, Will died in Chelsea, perhaps as a result of over-dosing on pain relief medications.
 
media
Marine and coastal painter
works and access
2 works, Permanent Col, Falmouth Art Gallery: St Ives Pier (Smeaton's) and Hayle Flats
Tate Gallery Collection (on-line): Beach at Dusk, St Ives; + 1 other
exhibitions
Notts Castle (2)
L, M; RA; RBA; ROI
1987: Selected for NAG exhibition, Looking West
memberships
STIAC
misc further info
Note: The entry has been updated with new information from David Tovey, based on research by genealogist, A Marjoram.
references
Falmouth Art Gallery (Permanent Col on-line col pls)
Hardie (2009) Artists in Newlyn & West Cornwall p339
Johnson & Greutzner
Looking West Exhibition catalogue (See Hardie 2009 for repr)
Notts Exhibition catalogue (See Hardie 2009 for repr)
Public Catalogue Foundation (2007) Cornwall & the Isles of Scilly: Oil Paintings in Public Ownership
Tovey (2009) St Ives/A Social History + addendum to update;
The Studio (Vol 5, Apr 1895)
WCAA file;

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Osbourne William Evelyn see Osborn or Osborne William Evelynview full entry

Reference: see Wild Colonials - Australian Artists & the Newlyn & St Ives Colonies, Bendigo Art Gallery exhibition catalogue. Preface by Karen Quinlan (Director), essays by Alison Bevan, David Tovey and Tracey Cooper-Lavery. British works included are all loaned by Australian public galleries. Australian works have been sourced more widely. The oil by Osborne is in Tate Britain, gifted by Sir Terence Ratigan. Osborne listed as Australian. A brief biography is on p80

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Osbourne William Evelyn see Osborn or Osborne William Evelyn

Reference: see Wild Colonials - Australian Artists & the Newlyn & St Ives Colonies, Bendigo Art Gallery exhibition catalogue. Preface by Karen Quinlan (Director), essays by Alison Bevan, David Tovey and Tracey Cooper-Lavery. British works included are all loaned by Australian public galleries. Australian works have been sourced more widely. The oil by Osborne is in Tate Britain, gifted by Sir Terence Ratigan. Osborne listed as Australian. A brief biography is on p80

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Broszky Horaceview full entry

Reference: From Peter Walker Fine Art, Adelaide, February, 2019 : Horace Brodsky

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




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

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

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

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

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Broszky Horace

Reference: From Peter Walker Fine Art, Adelaide, February, 2019 : Horace Brodsky

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




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

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

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

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

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Wood Noelview full entry

Reference: see Sydney Morning Herald: Artworks pulled from auction as late painter's family claims they are fakes. By Wendy Tuohy and Debbie Cuthbertson. May 2, 2019 —
Melbourne auction house Leonard Joel hopes some of the 59 paintings by late Australian artist Noel Wood that were withdrawn from sale after his relatives questioned their authenticity will go back on the market.
Police visited the South Yarra auction house about 9am on Thursday after Wood's 80-year-old daughter, Ann Grocott, alerted Leonard Joel that 16 of the paintings for sale under her late father's name may be copies of those hanging in her home.

Some of the "Noel Wood" works withdrawn from sale by the auction house Leonard Joel.
"I was shocked to see that at least 16 of the works are owned by me. I have had them on my wall at home for 40 years," Ms Grocott wrote to the auction house.
Police confirmed they attended the auction house on Thursday morning, but said they were treating the matter as a property dispute and a civil, not a criminal, matter.
Wood, who has works in the National Gallery of Australia and some state galleries, was one of the first painters to depict far north Queensland in works of fine art.
The pioneering painter, who died in 2001, gained renown as "the Robinson Crusoe of art" during the 60 years he lived and painted on Bedarra Island, off Mission Beach.
Ms Grocott she had had some of the works for 70 years, as they were given to her as a child by her father.
Speaking from her Bundaberg home, Ms Grocott said she was disturbed to see the works still for sale on the house's website on Thursday morning after she reported her concerns to the auction house on Wednesday.

One of 59 "Noel Wood" works withdrawn from sale by Leonard Joel auction house.
"They were very reluctant to stop the auction," she said. "They have been in my family for years ... yet here they are up for sale."
Ms Grocott, also a painter, said the style was not her father's.
"They are too bright, they're too loose, they're just not my father's brushwork which I know backwards and forwards. It's obvious to anyone who knows Noel's work, they would know this is not Noel's."
Artist Janey Pugh, who lived with Wood on Bedarra for seven years said she was "thrown off my balance" when she learnt of the auction.

"The brush strokes are totally different, not as considered, the colouring is totally different, the names they've given the paintings are not the original names. The whole thing is peculiar, it just doesn't ring true," she said.
Respected Queensland art expert, Ross Searle, also emailed Leonard Joel voicing concerns.
Leonard Joel managing director John Albrecht said the paintings were part of a deceased estate, but would not elaborate on the vendor's identity.
"The family have expressed concern ... we are happy to discuss it with the family... We are co-operating," he said.

He said the paintings would be not be sold, at least until discussions with the family had concluded.

"Our decision to withdraw the works is not under duress. It's because the family have provided us with enough information that we should look into their concerns."

He said "the usual checks" for authenticity would have been carried out on the works.
Mr Albrecht was hopeful that some would go back on the market.

"Academically, there are works among these that to my eye look exactly like the artist's work among those ones that look slightly different,” he said.

Mr Searle said he owned an original Wood painting, a duplicate of which appeared in Thursday's scheduled auction.

"My interest is in a work I currently own, which I saw a copy of in the Leonard Joel auction coming up. I was concerned about that work, and one I owned previously [also in the online catalogue]; those works have been copied I believe, and presented for sale as original works by Noel Wood.
"I have curated quite a few shows about artists who painted around Dunk Island, for whom Noel was the champion. I have identified six works owned by public collections that reappear as paintings in [Thursday's] auction."

Mr Searle said only 12 Noel Wood works had come up for sale since 2007, each fetching around $3000 to $4000.

Potential buyers told The Age at the Leonard Joel premises on Thursday that the low prices on the Noel Wood works, which were in the hundreds, had raised suspicions that the pieces could be fakes.
with Erin Pearson

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Wood Noel

Reference: see Sydney Morning Herald: Artworks pulled from auction as late painter's family claims they are fakes. By Wendy Tuohy and Debbie Cuthbertson. May 2, 2019 —
Melbourne auction house Leonard Joel hopes some of the 59 paintings by late Australian artist Noel Wood that were withdrawn from sale after his relatives questioned their authenticity will go back on the market.
Police visited the South Yarra auction house about 9am on Thursday after Wood's 80-year-old daughter, Ann Grocott, alerted Leonard Joel that 16 of the paintings for sale under her late father's name may be copies of those hanging in her home.

Some of the "Noel Wood" works withdrawn from sale by the auction house Leonard Joel.
"I was shocked to see that at least 16 of the works are owned by me. I have had them on my wall at home for 40 years," Ms Grocott wrote to the auction house.
Police confirmed they attended the auction house on Thursday morning, but said they were treating the matter as a property dispute and a civil, not a criminal, matter.
Wood, who has works in the National Gallery of Australia and some state galleries, was one of the first painters to depict far north Queensland in works of fine art.
The pioneering painter, who died in 2001, gained renown as "the Robinson Crusoe of art" during the 60 years he lived and painted on Bedarra Island, off Mission Beach.
Ms Grocott she had had some of the works for 70 years, as they were given to her as a child by her father.
Speaking from her Bundaberg home, Ms Grocott said she was disturbed to see the works still for sale on the house's website on Thursday morning after she reported her concerns to the auction house on Wednesday.

One of 59 "Noel Wood" works withdrawn from sale by Leonard Joel auction house.
"They were very reluctant to stop the auction," she said. "They have been in my family for years ... yet here they are up for sale."
Ms Grocott, also a painter, said the style was not her father's.
"They are too bright, they're too loose, they're just not my father's brushwork which I know backwards and forwards. It's obvious to anyone who knows Noel's work, they would know this is not Noel's."
Artist Janey Pugh, who lived with Wood on Bedarra for seven years said she was "thrown off my balance" when she learnt of the auction.

"The brush strokes are totally different, not as considered, the colouring is totally different, the names they've given the paintings are not the original names. The whole thing is peculiar, it just doesn't ring true," she said.
Respected Queensland art expert, Ross Searle, also emailed Leonard Joel voicing concerns.
Leonard Joel managing director John Albrecht said the paintings were part of a deceased estate, but would not elaborate on the vendor's identity.
"The family have expressed concern ... we are happy to discuss it with the family... We are co-operating," he said.

He said the paintings would be not be sold, at least until discussions with the family had concluded.

"Our decision to withdraw the works is not under duress. It's because the family have provided us with enough information that we should look into their concerns."

He said "the usual checks" for authenticity would have been carried out on the works.
Mr Albrecht was hopeful that some would go back on the market.

"Academically, there are works among these that to my eye look exactly like the artist's work among those ones that look slightly different,” he said.

Mr Searle said he owned an original Wood painting, a duplicate of which appeared in Thursday's scheduled auction.

"My interest is in a work I currently own, which I saw a copy of in the Leonard Joel auction coming up. I was concerned about that work, and one I owned previously [also in the online catalogue]; those works have been copied I believe, and presented for sale as original works by Noel Wood.
"I have curated quite a few shows about artists who painted around Dunk Island, for whom Noel was the champion. I have identified six works owned by public collections that reappear as paintings in [Thursday's] auction."

Mr Searle said only 12 Noel Wood works had come up for sale since 2007, each fetching around $3000 to $4000.

Potential buyers told The Age at the Leonard Joel premises on Thursday that the low prices on the Noel Wood works, which were in the hundreds, had raised suspicions that the pieces could be fakes.
with Erin Pearson

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Lambert George Washington exhibitorview full entry

Reference: see Antikbar Original Vintage Posters auction, lot 1100, May 11, 2019, London, United Kingdom Water Colours of Flower Time. In the Austrian Tyrol Italy & England by Rosa Wallis. The Fine Art Society are art dealers with two premises, one in New Bond Street, London occupied since February 1876, and given a new entrance facade in 1881 by Edward William Godwin (1833–1886), and most recently fully refurbished in 2004–05, with a new gallery created for contemporary work. The other gallery is in Dundas Street in Edinburgh's New Town (originally Bourne Fine Art, established 1978). The gallery is also known as the pioneer of the one-man exhibition, most famously that of James McNeill Whistler's First Venice Set of etchings in December 1880; the gallery having sent Whistler to Venice in 1879 in part to enable him to escape from the issues following his libel action against John Ruskin. The commission was for Whistler to travel to Venice for three months to create a series of twelve etchings. Beguiled by the city, he stayed for fourteen months and completed approximately fifty etchings. Venice also inspired Whistler to make some hundred works in pastel, of which 53 were shown in the Venice Pastels exhibition in 1881. During Whistler's absence in Venice, the gallery showed his antagonist John Ruskin's private Collection of Watercolours by J. M. W. Turner, and ran a subscription to pay for Ruskin's legal costs: a supreme exhibition of political sleight of hand. Other living exhibitors at the London premises included Sir John Everett Millais, John Singer Sargent, Burne-Jones, Frank Brangwyn, Walter Richard Sickert, Walter Crane, George Washington Lambert, Henry Charles Brewer and Joseph Southall, and more recently Leonard Rosoman, Emma Sargent, Emily Young, John Byrne, Alexander Stoddart and Geoffrey Clarke. Of many memorial exhibitions held, one was for Lady Alma Tadema in 1910.Fair condition, tears in margins, waving, creases. County: UK, year of printing:1910s, designer: Charles R. Stanton, size (cm): 64x49.5

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Lambert George Washington exhibitor

Reference: see Antikbar Original Vintage Posters auction, lot 1100, May 11, 2019, London, United Kingdom Water Colours of Flower Time. In the Austrian Tyrol Italy & England by Rosa Wallis. The Fine Art Society are art dealers with two premises, one in New Bond Street, London occupied since February 1876, and given a new entrance facade in 1881 by Edward William Godwin (1833–1886), and most recently fully refurbished in 2004–05, with a new gallery created for contemporary work. The other gallery is in Dundas Street in Edinburgh's New Town (originally Bourne Fine Art, established 1978). The gallery is also known as the pioneer of the one-man exhibition, most famously that of James McNeill Whistler's First Venice Set of etchings in December 1880; the gallery having sent Whistler to Venice in 1879 in part to enable him to escape from the issues following his libel action against John Ruskin. The commission was for Whistler to travel to Venice for three months to create a series of twelve etchings. Beguiled by the city, he stayed for fourteen months and completed approximately fifty etchings. Venice also inspired Whistler to make some hundred works in pastel, of which 53 were shown in the Venice Pastels exhibition in 1881. During Whistler's absence in Venice, the gallery showed his antagonist John Ruskin's private Collection of Watercolours by J. M. W. Turner, and ran a subscription to pay for Ruskin's legal costs: a supreme exhibition of political sleight of hand. Other living exhibitors at the London premises included Sir John Everett Millais, John Singer Sargent, Burne-Jones, Frank Brangwyn, Walter Richard Sickert, Walter Crane, George Washington Lambert, Henry Charles Brewer and Joseph Southall, and more recently Leonard Rosoman, Emma Sargent, Emily Young, John Byrne, Alexander Stoddart and Geoffrey Clarke. Of many memorial exhibitions held, one was for Lady Alma Tadema in 1910.Fair condition, tears in margins, waving, creases. County: UK, year of printing:1910s, designer: Charles R. Stanton, size (cm): 64x49.5

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Miller John Frederickview full entry

Reference: information from from Hordern House catalogue, May, 2019: ,MILLER, John Frederick, Cimelia Physica: Figures of Rare and Curious Quadrupeds, Birds &c.... with Descriptions by George Shaw.
Folio, two works bound together, with a total of 67 hand-coloured engraved plates (see note), several with manuscript captions and small annotations, bookplates; a magnifi- cent tall copy in contemporary full calf, original gilt-decorated spine laid down, red morocco label. London, Benjamin and John White, Horace’s Head, Fleet Street and John Sewell, Cornhill, 1796.
By one of Sir Joseph Banks’ outstanding natural history artists
A rare and extremely attractive work of natural history with magnificent orni- thological, zoological and botanical plates, several depicting specimens collected on Cook’s voyages for the first time. Unlike many contemporary works which included illustrations of the natural history of the Pacific, Miller’s book is both folio-format and hand-coloured, to dazzling effect. This fine copy offered here is the early issue without later watermarks unlike others recorded.
All of the plates are by the artist John Frederick Miller (1759-1796), who cut his teeth engraving the plates for the official account of the Endeavour voyage (1773). Miller had planned to sail on Cook’s second voyage with his patron, Sir Joseph Banks, but when Banks withdrew so did he, travelling instead as part of the Banks entourage to Iceland in 1772.
Starting in 1776, Miller began to publish these beautiful plates depicting the very latest and most striking discoveries: gulls and cassowaries, jerboas and falcons,
as well as Cook specimens such as the two beautiful Tahitian Rails and the pen- guins from different regions of the southern oceans. He ultimately published 60 plates, creating a publication that is so rare that even its actual title is not firmly recorded; it is listed as either Icones Animalium et Plantarum or Various Subjects of Natural History. .
The present copy has added significance because the original owner has extra- illustrated it with a further seven exotic botanical plates and a leaf of text, includ- ing two depicting New Zealand specimens which also date from Cook’s voyages. These plates were done by Miller’s father Johann Sebastian Müller as a rare sup- plement to his Illustratio Systematis Sexualis Linnaei, published from 1775-1777, although these “Icones Novæ” plates are dated 1780 (see Soulsby, for a description of a similar copy in the British Museum).
Provenance: “Wrest Park” bookplate of Thomas Philip Earl de Grey (1781- 1859); ink stamp of twentieth-century collector Pierpaolo Vaccarino.
Nissen IVB, 638; Bird Books, p. 94; Sherborn & Iredale, ‘J.F. Miller’s Icones,’ Ibis (1921); Soulsby, A Catalogue of the Works
of Linnæus, no. 1224b; Stafleu & Cowan, 6033; Wood, p. 465; Zimmer, p. 585.

×

Miller John Frederick

Reference: information from from Hordern House catalogue, May, 2019: ,MILLER, John Frederick, Cimelia Physica: Figures of Rare and Curious Quadrupeds, Birds &c.... with Descriptions by George Shaw.
Folio, two works bound together, with a total of 67 hand-coloured engraved plates (see note), several with manuscript captions and small annotations, bookplates; a magnifi- cent tall copy in contemporary full calf, original gilt-decorated spine laid down, red morocco label. London, Benjamin and John White, Horace’s Head, Fleet Street and John Sewell, Cornhill, 1796.
By one of Sir Joseph Banks’ outstanding natural history artists
A rare and extremely attractive work of natural history with magnificent orni- thological, zoological and botanical plates, several depicting specimens collected on Cook’s voyages for the first time. Unlike many contemporary works which included illustrations of the natural history of the Pacific, Miller’s book is both folio-format and hand-coloured, to dazzling effect. This fine copy offered here is the early issue without later watermarks unlike others recorded.
All of the plates are by the artist John Frederick Miller (1759-1796), who cut his teeth engraving the plates for the official account of the Endeavour voyage (1773). Miller had planned to sail on Cook’s second voyage with his patron, Sir Joseph Banks, but when Banks withdrew so did he, travelling instead as part of the Banks entourage to Iceland in 1772.
Starting in 1776, Miller began to publish these beautiful plates depicting the very latest and most striking discoveries: gulls and cassowaries, jerboas and falcons,
as well as Cook specimens such as the two beautiful Tahitian Rails and the pen- guins from different regions of the southern oceans. He ultimately published 60 plates, creating a publication that is so rare that even its actual title is not firmly recorded; it is listed as either Icones Animalium et Plantarum or Various Subjects of Natural History. .
The present copy has added significance because the original owner has extra- illustrated it with a further seven exotic botanical plates and a leaf of text, includ- ing two depicting New Zealand specimens which also date from Cook’s voyages. These plates were done by Miller’s father Johann Sebastian Müller as a rare sup- plement to his Illustratio Systematis Sexualis Linnaei, published from 1775-1777, although these “Icones Novæ” plates are dated 1780 (see Soulsby, for a description of a similar copy in the British Museum).
Provenance: “Wrest Park” bookplate of Thomas Philip Earl de Grey (1781- 1859); ink stamp of twentieth-century collector Pierpaolo Vaccarino.
Nissen IVB, 638; Bird Books, p. 94; Sherborn & Iredale, ‘J.F. Miller’s Icones,’ Ibis (1921); Soulsby, A Catalogue of the Works
of Linnæus, no. 1224b; Stafleu & Cowan, 6033; Wood, p. 465; Zimmer, p. 585.

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MIKLOUHO-MACLAY Nicholas [1846-1888]view full entry

Reference: information from from Hordern House catalogue, May, 2019: ,:
MIKLOUHO-MACLAY, Nicholas.
[1846-1888]
Portrait of Koapena, Chief of the Aroma district, New Guinea...
Signed with initials, dated twice and extensively inscribed: 31\viii 81.Quapena/Luepada of Maupa/District Aroma/South Coast/New Guinea. / “Carthona”/Sydney/23 Jan. 1885/’Momento” from New- Guinea- Commodore J. Erskine. R.N.-, pen and brown ink and pencil with coloured chalk; 34 cm x 25 cm, mounted and framed. Sydney,1885.
A superb portrait by the Russian scientist and artist Miklouho- Maclay, depicting the striking New Guinean man Koapena (or “Quapena”), a chief in the region of Hood Lagoon, south-east of Port Moresby.
Koapena was a towering figure and made a lasting impression on all he met: the Australian journalist Charles Lyne, who accompanied Erskine to New Guinea, spoke for most when he called Koapena “a great fighting chief, and one of the finest men we had seen” (Lyne, New Guinea, p. 114). More than that, Erskine interviewed Koapena at length while at anchor on board HMS Nelson and personally pre- sented the chief with an ebony baton in recognition of his authority.
Not only has Miklouho-Maclay rendered Koapena with great sen- sitivity, but the portrait has an important degree of scientific rigour, which means that he has included an accurate portrayal of the elaborate tattoos, most notably the blue crosses with which Koap- ena’s body was decorated. Charles Lyne noted that these crosses were representations of the number of people killed by Koapena in battle: “sixty-three were counted,” the journalist commented, “besides many other marks which represented the enemies killed by his tribe” (Lyne, New Guinea, p. 114).
Provenance: A gift from the artist to Commodore Erskine, 1885; remaining in the family until recent years then private collection (U.K.) until 2016

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MIKLOUHO-MACLAY Nicholas [1846-1888]

Reference: information from from Hordern House catalogue, May, 2019: ,:
MIKLOUHO-MACLAY, Nicholas.
[1846-1888]
Portrait of Koapena, Chief of the Aroma district, New Guinea...
Signed with initials, dated twice and extensively inscribed: 31\viii 81.Quapena/Luepada of Maupa/District Aroma/South Coast/New Guinea. / “Carthona”/Sydney/23 Jan. 1885/’Momento” from New- Guinea- Commodore J. Erskine. R.N.-, pen and brown ink and pencil with coloured chalk; 34 cm x 25 cm, mounted and framed. Sydney,1885.
A superb portrait by the Russian scientist and artist Miklouho- Maclay, depicting the striking New Guinean man Koapena (or “Quapena”), a chief in the region of Hood Lagoon, south-east of Port Moresby.
Koapena was a towering figure and made a lasting impression on all he met: the Australian journalist Charles Lyne, who accompanied Erskine to New Guinea, spoke for most when he called Koapena “a great fighting chief, and one of the finest men we had seen” (Lyne, New Guinea, p. 114). More than that, Erskine interviewed Koapena at length while at anchor on board HMS Nelson and personally pre- sented the chief with an ebony baton in recognition of his authority.
Not only has Miklouho-Maclay rendered Koapena with great sen- sitivity, but the portrait has an important degree of scientific rigour, which means that he has included an accurate portrayal of the elaborate tattoos, most notably the blue crosses with which Koap- ena’s body was decorated. Charles Lyne noted that these crosses were representations of the number of people killed by Koapena in battle: “sixty-three were counted,” the journalist commented, “besides many other marks which represented the enemies killed by his tribe” (Lyne, New Guinea, p. 114).
Provenance: A gift from the artist to Commodore Erskine, 1885; remaining in the family until recent years then private collection (U.K.) until 2016

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Andrews Henryview full entry

Reference: from Cathy Lilburne Books, Elist 36- Mining; Children's; China; Maps; Puzzles, 2019: Andrews, Henry.
"MELALEUCA DIOSMAFOLIA". AUSTRALIAN BOTTLE BRUSH. HAND COLORED STIPPLE ENGRAVING.
Ca. 1800. A large beautifully hand colored image of the Australian green honey myrtle or bottle brush, showing two of its distinctive flowers. Melaleuca diosmifolia is a compact growing shrub from the south west corner of Western Australia, and has beautiful green bottlebrush flowers, the stamens tipped with yellow.

From the elusive 'The Botanist's Repository, for New, and Rare Plants'. 8 1/4 x 10" Very good + condition. Item #24957

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Andrews Henry

Reference: from Cathy Lilburne Books, Elist 36- Mining; Children's; China; Maps; Puzzles, 2019: Andrews, Henry.
"MELALEUCA DIOSMAFOLIA". AUSTRALIAN BOTTLE BRUSH. HAND COLORED STIPPLE ENGRAVING.
Ca. 1800. A large beautifully hand colored image of the Australian green honey myrtle or bottle brush, showing two of its distinctive flowers. Melaleuca diosmifolia is a compact growing shrub from the south west corner of Western Australia, and has beautiful green bottlebrush flowers, the stamens tipped with yellow.

From the elusive 'The Botanist's Repository, for New, and Rare Plants'. 8 1/4 x 10" Very good + condition. Item #24957

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Hoppe E Oview full entry

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Hoppe E O

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Gifford Nancy design with John Passmoreview full entry

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Gifford Nancy design with John Passmore

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Passmore John design with Nancy Gifford view full entry

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Passmore John design with Nancy Gifford

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Kopsen Betty design byview full entry

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Kopsen Betty design by

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Edkins Roslyn design byview full entry

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Edkins Roslyn design by

Reference: see Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Burn Marie design byview full entry

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Burn Marie design by

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Lazarus Valerie and John Passmore design byview full entry

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Lazarus Valerie and John Passmore design by

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Passmore John design by and with Lazarus Valerie view full entry

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Passmore John design by and with Lazarus Valerie

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Bellette Jean design byview full entry

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Bellette Jean design by

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Tribe Barbara design byview full entry

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

×

Tribe Barbara design by

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Newman Jessie - Jessie Newman Art Shop advertisementview full entry

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.
Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Newman Jessie - Jessie Newman Art Shop advertisement

Reference: Sydney Bridge Celebrations 1932
Smith, Sydney Ure & Gellert, Leon (editors),
many advertisements in colour and b&w. Includes the programme of the official opening and celebrations. Lots of information about the bridge and Sydney. With reproductions of artworks by leading Australian artists. Photographs include many by E. O. Hoppe.

Publishing details: Art in Australia Limited, Sydney, 1932, green and silver covers. 80pp plus advertisements. Ex Libris [Leys Institute Public Library copy with minor staps inside each cover.

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Sinozich Gina view full entry

Reference: DVD The Passion of Gina Sinozich, 2008, 27 mins. Produced by Silvie Le Clezio.
Croatian-born grandmother Gina Sinozich has painted a prodigious and impressive collection of hundreds of internationally celebrated paintings since she first took up a brush just six years ago.
Working from the garage at her western Sydney suburbs home, Gina paints furiously to preserve the memories she and her husband Eugen share from a tumultuous lifetime, which included war, penniless immigration from Yugoslavia and then his decline into dementia six years ago.
It was Eugen's illness that prompted her to begin painting, revealing a talent that is being hailed internationally and in prestigious Australian galleries, including the National Gallery in Canberra. Her work covers topics ranging from the mundane to the extraordinary and demonstrates a unique sense of ordinary lives being shaped by historical forces.

The Iraq war made her confront her own memories of World War II and the heroism of Eugen as he fought alongside the Croatian partisans. At an age where most people are slowing down, this warm and engaging woman has found a unique way to transform the memory and events of her life into a powerful picture of the human condition.

Publishing details: Vagabond Films, Artfilms, 2008.
Ref: 136

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Sinozich Gina

Reference: DVD The Passion of Gina Sinozich, 2008, 27 mins. Produced by Silvie Le Clezio.
Croatian-born grandmother Gina Sinozich has painted a prodigious and impressive collection of hundreds of internationally celebrated paintings since she first took up a brush just six years ago.
Working from the garage at her western Sydney suburbs home, Gina paints furiously to preserve the memories she and her husband Eugen share from a tumultuous lifetime, which included war, penniless immigration from Yugoslavia and then his decline into dementia six years ago.
It was Eugen's illness that prompted her to begin painting, revealing a talent that is being hailed internationally and in prestigious Australian galleries, including the National Gallery in Canberra. Her work covers topics ranging from the mundane to the extraordinary and demonstrates a unique sense of ordinary lives being shaped by historical forces.

The Iraq war made her confront her own memories of World War II and the heroism of Eugen as he fought alongside the Croatian partisans. At an age where most people are slowing down, this warm and engaging woman has found a unique way to transform the memory and events of her life into a powerful picture of the human condition.

Publishing details: Vagabond Films, Artfilms, 2008.

Location: 136

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Pearson Margaret Maryview full entry

Reference: Poppet and Pete, written and illustrated by Margaret M. Pearson
Publishing details: Australian Publishing Co., 1943 
[49] p. : col. ill
Ref: 1000

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Pearson Margaret Mary

Reference: Poppet and Pete, written and illustrated by Margaret M. Pearson

Publishing details: Australian Publishing Co., 1943 
[49] p. : col. ill

Location: 1000

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Campbell John Paterson 1855 - 1924view full entry

Reference: see McKenzie’s auction, WA, Fine and Decorative Arts, Jewellery and Furniture
14th May 2019, lot 40:
John Paterson Campbell 1855 - 1924
Est. price: $25000.00 - $35000.00
Hammer Price: $
John Paterson Campbell 1855 - 1924 The Shamrock Hotel in Central Hay Street, WA Oil on canvas on board Signed and dated 'John Campbell 1919' lower right 45.5 x 60 cm Exhibited: AGWA. Retrospective Exhibition, John Campbell, 2003 Provenance: Private collection, Perth Illustrated: 'The People of Perth' by; C.T Stannage. Pub; P.C.C. 1979. Illustr. P.227 The book describes the pub as being bought by Timothy Quinlan who went on to have a successful political & business career. Janice Baker (Assistant Art curator AGWA, at the time of the above exhibition), notes the following in her published essay for the exhibition. 'Western Australia has a history of 'boom and bust' economic cycles related to the fluctuations of Industrial and resource-development activity. During boom periods life was heady, and the Shamrock Hotel in Perth, immortalised in Campbell's oil painting Shamrock Hotel in central Hay Street, 1919 was a symbol of such times. The pub was recalled as a perfect stock exchange, with shares bought and sold, land dealing completed, syndicates formed. Who could possibly describe the scenes viewed from The Shamrock balcony of an evening . the wild and Incredible influx of population people pouring into the state in thousands. No rooms; care to sleep on the billiard table or under the table, or on the balcony if you have a swag. Campbell captures the charm and character of the Shamrock Hotel, carefully observing its architectural features including spindly support pillars, balcony, titled and arched frontage, and elaborate lace fretwork. The detail extends inside the building, with a view down the central corridor into the interior. There is a large sign across the entire frontage of the pub announcing its name and that of its proprietor. There are no people, (Note: A portrait of a man,

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Campbell John Paterson 1855 - 1924

Reference: see McKenzie’s auction, WA, Fine and Decorative Arts, Jewellery and Furniture
14th May 2019, lot 40:
John Paterson Campbell 1855 - 1924
Est. price: $25000.00 - $35000.00
Hammer Price: $
John Paterson Campbell 1855 - 1924 The Shamrock Hotel in Central Hay Street, WA Oil on canvas on board Signed and dated 'John Campbell 1919' lower right 45.5 x 60 cm Exhibited: AGWA. Retrospective Exhibition, John Campbell, 2003 Provenance: Private collection, Perth Illustrated: 'The People of Perth' by; C.T Stannage. Pub; P.C.C. 1979. Illustr. P.227 The book describes the pub as being bought by Timothy Quinlan who went on to have a successful political & business career. Janice Baker (Assistant Art curator AGWA, at the time of the above exhibition), notes the following in her published essay for the exhibition. 'Western Australia has a history of 'boom and bust' economic cycles related to the fluctuations of Industrial and resource-development activity. During boom periods life was heady, and the Shamrock Hotel in Perth, immortalised in Campbell's oil painting Shamrock Hotel in central Hay Street, 1919 was a symbol of such times. The pub was recalled as a perfect stock exchange, with shares bought and sold, land dealing completed, syndicates formed. Who could possibly describe the scenes viewed from The Shamrock balcony of an evening . the wild and Incredible influx of population people pouring into the state in thousands. No rooms; care to sleep on the billiard table or under the table, or on the balcony if you have a swag. Campbell captures the charm and character of the Shamrock Hotel, carefully observing its architectural features including spindly support pillars, balcony, titled and arched frontage, and elaborate lace fretwork. The detail extends inside the building, with a view down the central corridor into the interior. There is a large sign across the entire frontage of the pub announcing its name and that of its proprietor. There are no people, (Note: A portrait of a man,

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Weston Nevilleview full entry

Reference: see EBay kisting UK 11 May 2019: An Australian Outback Series Aerial No 6 Which Was Exhibited in 2001 GADELY Gallery Perth .
Neville Weston Is Better Known For His Ned Kelly And Australian Pictures He Painted When He Lived In Australia for Many Years.

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Weston Neville

Reference: see EBay kisting UK 11 May 2019: An Australian Outback Series Aerial No 6 Which Was Exhibited in 2001 GADELY Gallery Perth .
Neville Weston Is Better Known For His Ned Kelly And Australian Pictures He Painted When He Lived In Australia for Many Years.

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Abbott Angela view full entry

Reference: a portrait of Angela Abbott was offered on eBay on 11 May 2018 by RON CRAWFORD - a portrait of Ms Angela Abbott circa 1982. 

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Abbott Angela

Reference: a portrait of Angela Abbott was offered on eBay on 11 May 2018 by RON CRAWFORD - a portrait of Ms Angela Abbott circa 1982. 

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Crawford Ronald William view full entry

Reference: from an eBay listing 11 May 2019: Ronald William Crawford in Pinnaroo, Victoria in 1915
Died Melbourne, 1987.
 
Ron Crawford studied for a while under Charles Wheeler at the Melbourne National Gallery Drawing School. Around this time he saw Max Meldrum’s exhibition at the Athenaeum Gallery and was greatly impressed.
 
In 1937, he commenced studies under Meldrum. He continued his studies after the war and assisted Meldrum with his classes until Meldrum’s death in 1955.
 
He later purchased and operated a framing workshop until 1973 when he sold the business to Jarman Picture Framers. Crawford then returned to teaching and painting full-time from his studio at Auburn Uniting Church, Hawthorn. Not long after, he joined the Victorian Artist’s Society.  
 
Crawford was a member of the renowned The Twenty Melbourne Painters Society and exhibited with them on an infrequent basis from 1957 to 1987.
 
In 1977, Crawford moved to Brighton and set up another studio in a former church in East Brighton where he painted several portrait commissions. He was a dedicated teacher and taught many students until his death in 1987.

Link to biography of Max Meldrum - http://adb.anu.edu.au/biography/meldrum-duncan-max-7553

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Crawford Ronald William

Reference: from an eBay listing 11 May 2019: Ronald William Crawford in Pinnaroo, Victoria in 1915
Died Melbourne, 1987.
 
Ron Crawford studied for a while under Charles Wheeler at the Melbourne National Gallery Drawing School. Around this time he saw Max Meldrum’s exhibition at the Athenaeum Gallery and was greatly impressed.
 
In 1937, he commenced studies under Meldrum. He continued his studies after the war and assisted Meldrum with his classes until Meldrum’s death in 1955.
 
He later purchased and operated a framing workshop until 1973 when he sold the business to Jarman Picture Framers. Crawford then returned to teaching and painting full-time from his studio at Auburn Uniting Church, Hawthorn. Not long after, he joined the Victorian Artist’s Society.  
 
Crawford was a member of the renowned The Twenty Melbourne Painters Society and exhibited with them on an infrequent basis from 1957 to 1987.
 
In 1977, Crawford moved to Brighton and set up another studio in a former church in East Brighton where he painted several portrait commissions. He was a dedicated teacher and taught many students until his death in 1987.

Link to biography of Max Meldrum - http://adb.anu.edu.au/biography/meldrum-duncan-max-7553

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Hitchen Jview full entry

Reference: J. Hitchen - The new port, Adelaide, South Australia [picture] / drawn on stone by J. Hitchen
Created/Published
[London] (104 Leadenhall Street) : J.C. Hailes, [1841], lithograph, hand col. ; 41.2 x 50.8cm.

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Hitchen J

Reference: J. Hitchen - The new port, Adelaide, South Australia [picture] / drawn on stone by J. Hitchen
Created/Published
[London] (104 Leadenhall Street) : J.C. Hailes, [1841], lithograph, hand col. ; 41.2 x 50.8cm.

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Stocqueler Joachim Hayward 1800-1885view full entry

Reference: A guide book to Messrs Grieve and Telbin’s diorama, the Ocean mail to India and Australia : comprehending brief descriptions of all the places seen or touched at on the voyage and represented in the diorama / by J.H. Stocqueler and Samuel Mossman. The "artist proprietors [include] Mr Thomas Grieve, and Mr William Telbin" -- p. [3].
Twenty-nine ill. alternate with description.
At head of title: Gallery of Illustration, 14 Regent Street. [painted by Thomas Grieve [and others?]
Australian content includes final eight ill. covering 10 areas in New South Wales, Victoria and Bass Strait (p. [46] - 66).
Publishing details: Published by the proprietors, 1853 
66 pages : illustrations ; 14 x 22 cm. 
Ref: 1009

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Stocqueler Joachim Hayward 1800-1885

Reference: A guide book to Messrs Grieve and Telbin’s diorama, the Ocean mail to India and Australia : comprehending brief descriptions of all the places seen or touched at on the voyage and represented in the diorama / by J.H. Stocqueler and Samuel Mossman. The "artist proprietors [include] Mr Thomas Grieve, and Mr William Telbin" -- p. [3].
Twenty-nine ill. alternate with description.
At head of title: Gallery of Illustration, 14 Regent Street. [painted by Thomas Grieve [and others?]
Australian content includes final eight ill. covering 10 areas in New South Wales, Victoria and Bass Strait (p. [46] - 66).

Publishing details: Published by the proprietors, 1853 
66 pages : illustrations ; 14 x 22 cm. 

Location: 1009

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Grieve Thomas view full entry

Reference: A guide to the diorama of the Ocean mail to India and Australia : comprehending brief descriptions of all the places seen or touched at on the voyage and represented in the diorama / by J.H. Stocqueler and Samuel Mossman. The "artist proprietors [include] Mr Thomas Grieve, and Mr William Telbin" -- p. [3].
Twenty-nine ill. alternate with description.
At head of title: Gallery of Illustration, 14 Regent Street.
Australian content includes final eight ill. covering 10 areas in New South Wales, Victoria and Bass Strait (p. [46] - 66).
Publishing details: Published by the proprietors, 1853 
66 pages : illustrations ; 14 x 22 cm. 

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Grieve Thomas

Reference: A guide to the diorama of the Ocean mail to India and Australia : comprehending brief descriptions of all the places seen or touched at on the voyage and represented in the diorama / by J.H. Stocqueler and Samuel Mossman. The "artist proprietors [include] Mr Thomas Grieve, and Mr William Telbin" -- p. [3].
Twenty-nine ill. alternate with description.
At head of title: Gallery of Illustration, 14 Regent Street.
Australian content includes final eight ill. covering 10 areas in New South Wales, Victoria and Bass Strait (p. [46] - 66).

Publishing details: Published by the proprietors, 1853 
66 pages : illustrations ; 14 x 22 cm. 

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Telbin William view full entry

Reference: A guide to the diorama of the Ocean mail to India and Australia : comprehending brief descriptions of all the places seen or touched at on the voyage and represented in the diorama / by J.H. Stocqueler and Samuel Mossman. The "artist proprietors [include] Mr Thomas Grieve, and Mr William Telbin" -- p. [3].
Twenty-nine ill. alternate with description.
At head of title: Gallery of Illustration, 14 Regent Street.
Australian content includes final eight ill. covering 10 areas in New South Wales, Victoria and Bass Strait (p. [46] - 66).
Publishing details: Published by the proprietors, 1853 
66 pages : illustrations ; 14 x 22 cm. 

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Telbin William

Reference: A guide to the diorama of the Ocean mail to India and Australia : comprehending brief descriptions of all the places seen or touched at on the voyage and represented in the diorama / by J.H. Stocqueler and Samuel Mossman. The "artist proprietors [include] Mr Thomas Grieve, and Mr William Telbin" -- p. [3].
Twenty-nine ill. alternate with description.
At head of title: Gallery of Illustration, 14 Regent Street.
Australian content includes final eight ill. covering 10 areas in New South Wales, Victoria and Bass Strait (p. [46] - 66).

Publishing details: Published by the proprietors, 1853 
66 pages : illustrations ; 14 x 22 cm. 

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Kermode William A (1895 – 1959)view full entry

Reference: from Wikipedia: William Kermode. Born 1895, Hobart, Tasmania. Died 1959

William A. Kermode MC (1895 – 1959) was an Australian artist. He illustrated Henry Williamson's The Patriot's Progress, published in 1930. The illustrations were linocuts, an unusual medium.
William Kermode was born in Hobart, Tasmania in 1895. During the First World War he served on the Western Front with the British Army, being awarded the Military Cross. Post-war he maintained a studio in Pimlico, London. He died in 1959, aged 64.[1].
Biography[edit]
William A. Kermode was born in Hobart, Tasmania, where his family were among the early landowners. He probably came to England in 1911.
He fought in the British Army, during the First World War I914-18 and was awarded the Military Cross for Gallantry.
In the Second World War he served as Observer Corps Liaison Officer at Fighter Command Headquarters, Uxbridge.
He died aged 64 in Ashford Hospital, Kent.[2]
Education and career[edit]
Kermode studied at Iain Macnab’s Grosvenor School of Modern Art, probably between 1925-8, and is believed to have shown linocuts at the first British exhibition of the medium at the Redfern Gallery, London, in 1929.[3] He designed posters for the London Underground in 1924 including "Leave this and Move to Edgware" printed by the Westminster Press.[4] In 1928 Kermode was introduced to Henry Williamson by the well-known literary critic Sir John (Jack) Squire. Kermode had made linocuts from his war experiences and wanted someone to write short caption-like paragraphs. The result was the highly acclaimed Patriot’s Progress, today considered as an important contribution to the literature of World War I. Kermode also provided a cover design for a cheap edition of Tarka the Otter, published in 1929.[5] He is also known to have illustrated The Specialist by Charles Sale[6] and Moscow Has a Plan by M. Ilin (Jonathan Cape, 1931).[7]
Kermode wrote on the subject of colour linocuts applied to advertising and made a number of independent linocuts in monochrome from about 1920, in small editions. He published Drawing on Scraperboard for Beginners in 1938. A fact of Kermode’s work, as yet undocumented and largely ignored, is the variety of birding covers and dust wrappers which he designed, some from linocut and many bearing the simple initial "K".[3] Sybil Andrews attended a lecture and demonstration by William Kermode on wood-block printing at Heatherley’s School of Art, London in the 20s.[8] A short obituary following his death and written by Owen Rowley appeared on page 12 of The Times on Thursday 5 February 1959.
The Life Saver[edit]
This section needs expansion. You can help by adding to it. (May 2012)
The Life Saver is a limited edition (of 25) original linocut measuring 16"x12" signed in pencil by William Kermode. It is recorded in the National Gallery of Australia, alongside some of his other work, although no copy of it exists there. It is also recorded at being exhibited at the 7th International Print Makers Exhibition 2 March- 4 April at the Los Angeles Museum in 1926.[9] A copy is known to be owned privately.
References[edit]
1 ^ Williamson, Henry, The Patriot's Progress, London: Macdonald and Jane's, 1968 pp. 196-7, ISBN 9780356024554; quoting The Times, obituary 6 February 1959
2 ^ The Times Digital Archive
3 ^ Jump up to: 
a b National Art Library Reading Room (Victoria & Albert Museum)
4 ^ "Artist: William A Kermode - Poster and poster artwork collection, London Transport Museum". Ltmcollection.org. Retrieved 23 January 2016.
5 ^ Henry Williamson Society
6 ^ Norfolk Library & Information Service
7 ^ British Library Catalogue
8 ^ Cutting Edge of Modernity, Gordon Samuel, Lund Humphries Publishers, 2002, ISBN 978-0853318668
9 ^ National Gallery of Australia

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Kermode William A (1895 – 1959)

Reference: from Wikipedia: William Kermode. Born 1895, Hobart, Tasmania. Died 1959

William A. Kermode MC (1895 – 1959) was an Australian artist. He illustrated Henry Williamson's The Patriot's Progress, published in 1930. The illustrations were linocuts, an unusual medium.
William Kermode was born in Hobart, Tasmania in 1895. During the First World War he served on the Western Front with the British Army, being awarded the Military Cross. Post-war he maintained a studio in Pimlico, London. He died in 1959, aged 64.[1].
Biography[edit]
William A. Kermode was born in Hobart, Tasmania, where his family were among the early landowners. He probably came to England in 1911.
He fought in the British Army, during the First World War I914-18 and was awarded the Military Cross for Gallantry.
In the Second World War he served as Observer Corps Liaison Officer at Fighter Command Headquarters, Uxbridge.
He died aged 64 in Ashford Hospital, Kent.[2]
Education and career[edit]
Kermode studied at Iain Macnab’s Grosvenor School of Modern Art, probably between 1925-8, and is believed to have shown linocuts at the first British exhibition of the medium at the Redfern Gallery, London, in 1929.[3] He designed posters for the London Underground in 1924 including "Leave this and Move to Edgware" printed by the Westminster Press.[4] In 1928 Kermode was introduced to Henry Williamson by the well-known literary critic Sir John (Jack) Squire. Kermode had made linocuts from his war experiences and wanted someone to write short caption-like paragraphs. The result was the highly acclaimed Patriot’s Progress, today considered as an important contribution to the literature of World War I. Kermode also provided a cover design for a cheap edition of Tarka the Otter, published in 1929.[5] He is also known to have illustrated The Specialist by Charles Sale[6] and Moscow Has a Plan by M. Ilin (Jonathan Cape, 1931).[7]
Kermode wrote on the subject of colour linocuts applied to advertising and made a number of independent linocuts in monochrome from about 1920, in small editions. He published Drawing on Scraperboard for Beginners in 1938. A fact of Kermode’s work, as yet undocumented and largely ignored, is the variety of birding covers and dust wrappers which he designed, some from linocut and many bearing the simple initial "K".[3] Sybil Andrews attended a lecture and demonstration by William Kermode on wood-block printing at Heatherley’s School of Art, London in the 20s.[8] A short obituary following his death and written by Owen Rowley appeared on page 12 of The Times on Thursday 5 February 1959.
The Life Saver[edit]
This section needs expansion. You can help by adding to it. (May 2012)
The Life Saver is a limited edition (of 25) original linocut measuring 16"x12" signed in pencil by William Kermode. It is recorded in the National Gallery of Australia, alongside some of his other work, although no copy of it exists there. It is also recorded at being exhibited at the 7th International Print Makers Exhibition 2 March- 4 April at the Los Angeles Museum in 1926.[9] A copy is known to be owned privately.
References[edit]
1 ^ Williamson, Henry, The Patriot's Progress, London: Macdonald and Jane's, 1968 pp. 196-7, ISBN 9780356024554; quoting The Times, obituary 6 February 1959
2 ^ The Times Digital Archive
3 ^ Jump up to: 
a b National Art Library Reading Room (Victoria & Albert Museum)
4 ^ "Artist: William A Kermode - Poster and poster artwork collection, London Transport Museum". Ltmcollection.org. Retrieved 23 January 2016.
5 ^ Henry Williamson Society
6 ^ Norfolk Library & Information Service
7 ^ British Library Catalogue
8 ^ Cutting Edge of Modernity, Gordon Samuel, Lund Humphries Publishers, 2002, ISBN 978-0853318668
9 ^ National Gallery of Australia

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Kermode William A (1895 – 1959)view full entry

Reference: The Specialist by Charles Sale, illustrated by William Kermode.
Publishing details: Putnam & Co.Ltd (1930 [numerous editions, ‘over a million cioies sold’]
Ref: 1000

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Kermode William A (1895 – 1959)

Reference: The Specialist by Charles Sale, illustrated by William Kermode.

Publishing details: Putnam & Co.Ltd (1930 [numerous editions, ‘over a million cioies sold’]

Location: 1000

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Kermode William A (1895 – 1959)view full entry

Reference: Moscow Has a Plan by M. Ilin illustrated by William Kermode
Publishing details: Jonathan Cape, 1931
Ref: 1000

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Kermode William A (1895 – 1959)

Reference: Moscow Has a Plan by M. Ilin illustrated by William Kermode

Publishing details: Jonathan Cape, 1931

Location: 1000

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Kermode William A (1895 – 1959)view full entry

Reference: The Life Saver is a limited edition (of 25) original linocut measuring 16"x12" signed in pencil by William Kermode.[It is recorded in the National Gallery of Australia, alongside some of his other work, although no copy of it exists there. It is also recorded at being exhibited at the 7th International Print Makers Exhibition 2 March- 4 April at the Los Angeles Museum in 1926.]

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Kermode William A (1895 – 1959)

Reference: The Life Saver is a limited edition (of 25) original linocut measuring 16"x12" signed in pencil by William Kermode.[It is recorded in the National Gallery of Australia, alongside some of his other work, although no copy of it exists there. It is also recorded at being exhibited at the 7th International Print Makers Exhibition 2 March- 4 April at the Los Angeles Museum in 1926.]

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Animals and Animism view full entry

Reference: Animals and Animism in Australian Art and Other Essays. Jenny Zimmer. [to be indexed]
Publishing details: RMIT Gallery, 1981,

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Animals and Animism

Reference: Animals and Animism in Australian Art and Other Essays. Jenny Zimmer. [to be indexed]

Publishing details: RMIT Gallery, 1981,

Location: 0

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Selected paintings from Victorian C.A.E. Collections
view full entry

Reference: Selected paintings from Victorian C.A.E. Collections

Publishing details: Melbourne : RMIT Gallery, [1981].
Ref: 1000

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Selected paintings from Victorian C.A.E. Collections

Reference: Selected paintings from Victorian C.A.E. Collections

Publishing details: Melbourne : RMIT Gallery, [1981].

Location: 1000

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May Edwardview full entry

Reference: Edward May at Quentin Gallery Perth (catalogue?)

Publishing details: Perth : Quentin Gallery, c. 1982.
Ref: 1000

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May Edward

Reference: Edward May at Quentin Gallery Perth (catalogue?)

Publishing details: Perth : Quentin Gallery, c. 1982.

Location: 1000

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May Edwardview full entry

Reference: An exhibition of working drawings by Edward May

Publishing details: Brisbane : Institute of Modern Art, [1976].
Ref: 1000

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May Edward

Reference: An exhibition of working drawings by Edward May

Publishing details: Brisbane : Institute of Modern Art, [1976].

Location: 1000

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Leti Brunoview full entry

Reference: Bruno Leti. Artist books & portfolios. Place, events, fantasy

Publishing details: Melbourne : Christine Abrahams Gallery, 1993.
Ref: 1000

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Leti Bruno

Reference: Bruno Leti. Artist books & portfolios. Place, events, fantasy

Publishing details: Melbourne : Christine Abrahams Gallery, 1993.

Location: 1000

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Lock Samuel Robert (1822-1881) Corroboree South Australia c.1840view full entry

Reference: see lot 89, Cooee Art MarketPlace
June 4, 2019, Paddington, Australia: Description: Samuel Robert Lock was educated at King's College, Cambridge, and became a self - taught miniature painter. He travelled to South Australia in 1839 when 17 years of age and was employed as artist in the Government Survey Office. He subsequently visited Tasmania & Pacific Islands. This small watercolour work depicting a corroboree is believed to have been painted when in his 20s near Victor Harbor/Lake Alexandrina south east of Adelaide. On his return to England, Lock worked as a photographic painter and later opened a Regent Street studio for miniature painting, converting Talbotypes into miniatures. He worked in London for the next 20 years where he exhibited at the Royal Academy during the years 1849 to 1854. He moved to Brighton in 1877, but died 4 years later after contracting Bronchitis in Italy while on a trip to Europe & Middle East.
Dimensions: 22 x 31 cm : Frame 45 x 53 cm
Artist or Maker: Samuel Lock
Medium: watercolor on paper
Date: c.1840
Provenance: Purchased by the current owner from antiquarian book seller in London, 2006 Mossgreen Auctions, July 2015, Lot No. 50 Deutscher and Hackett, Important Indigenous Art, Melbourne, Nov 2017, Lot No. 116 Private Collection, Vic

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Lock Samuel Robert (1822-1881) Corroboree South Australia c.1840

Reference: see lot 89, Cooee Art MarketPlace
June 4, 2019, Paddington, Australia: Description: Samuel Robert Lock was educated at King's College, Cambridge, and became a self - taught miniature painter. He travelled to South Australia in 1839 when 17 years of age and was employed as artist in the Government Survey Office. He subsequently visited Tasmania & Pacific Islands. This small watercolour work depicting a corroboree is believed to have been painted when in his 20s near Victor Harbor/Lake Alexandrina south east of Adelaide. On his return to England, Lock worked as a photographic painter and later opened a Regent Street studio for miniature painting, converting Talbotypes into miniatures. He worked in London for the next 20 years where he exhibited at the Royal Academy during the years 1849 to 1854. He moved to Brighton in 1877, but died 4 years later after contracting Bronchitis in Italy while on a trip to Europe & Middle East.
Dimensions: 22 x 31 cm : Frame 45 x 53 cm
Artist or Maker: Samuel Lock
Medium: watercolor on paper
Date: c.1840
Provenance: Purchased by the current owner from antiquarian book seller in London, 2006 Mossgreen Auctions, July 2015, Lot No. 50 Deutscher and Hackett, Important Indigenous Art, Melbourne, Nov 2017, Lot No. 116 Private Collection, Vic

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McKenzie Alexanderview full entry

Reference: see MCTEAR'S auction, UK, 26 May, 2019, lot 583: ALEXANDER MCKENZIE (AUSTRALIAN B 1971 - ), NIGHT SCENE oil on linen, signed and dated '01, further signed, titled and dated '01 verso 60cm x 60cm Framed. Note: Alexander McKenzie is one of Australia's most successful contemporary artists. The son of Scottish migrants, McKenzie knew he would become a painter from the earliest years and had his own purpose-built art studio at home from the age of eleven. Shortly after leaving the City Art Institute he won the Brett Whiteley Scholarship to study at Julian Ashton School of Art, graduating in 1994. Between 1995-2002 he studied and traveled throughout England, Ireland, France, Scotland and Italy. His landscape paintings have been described as "aesthetically reminiscent of 15th century Dutch Masters – with contemporary motifs... reflecting the human journey that transpires time and place". In 2013 he was commissioned by the Australian War Memorial to paint a ten metre by three metre background as part of the World War I centenary commemorations. The diorama depicts the 1918 Battle of Semakh that unfolded on the Sea of Galilee's southern shore in the last months of the Sinai and Palestine campaign. McKenzie's work has been part of numerous solo and group exhibitions in Australia, Hong Kong, Scotland, Ireland and the United States and is part of corporate and private collections across the globe. YouTube features several films of exhibitions and interviews with McKenzie (Youtube Alexander McKenzie artist). Several of Alexander McKenzie's paintings have been sold at auction in Australia and prices are recorded at the Australian dollar equivalent of US$17,917, US$14,572 and US$13,935 (very approximately £13,700, £11,200 and £10,700) source "findartinfo".

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McKenzie Alexander

Reference: see MCTEAR'S auction, UK, 26 May, 2019, lot 583: ALEXANDER MCKENZIE (AUSTRALIAN B 1971 - ), NIGHT SCENE oil on linen, signed and dated '01, further signed, titled and dated '01 verso 60cm x 60cm Framed. Note: Alexander McKenzie is one of Australia's most successful contemporary artists. The son of Scottish migrants, McKenzie knew he would become a painter from the earliest years and had his own purpose-built art studio at home from the age of eleven. Shortly after leaving the City Art Institute he won the Brett Whiteley Scholarship to study at Julian Ashton School of Art, graduating in 1994. Between 1995-2002 he studied and traveled throughout England, Ireland, France, Scotland and Italy. His landscape paintings have been described as "aesthetically reminiscent of 15th century Dutch Masters – with contemporary motifs... reflecting the human journey that transpires time and place". In 2013 he was commissioned by the Australian War Memorial to paint a ten metre by three metre background as part of the World War I centenary commemorations. The diorama depicts the 1918 Battle of Semakh that unfolded on the Sea of Galilee's southern shore in the last months of the Sinai and Palestine campaign. McKenzie's work has been part of numerous solo and group exhibitions in Australia, Hong Kong, Scotland, Ireland and the United States and is part of corporate and private collections across the globe. YouTube features several films of exhibitions and interviews with McKenzie (Youtube Alexander McKenzie artist). Several of Alexander McKenzie's paintings have been sold at auction in Australia and prices are recorded at the Australian dollar equivalent of US$17,917, US$14,572 and US$13,935 (very approximately £13,700, £11,200 and £10,700) source "findartinfo".

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Meldrum Max portrait bust of by Fredda Brilliantview full entry

Reference: see WOOLLEY & WALLIS auction, UK, 5 June, 2019, lot 20 had 3 lots by Fredda Brilliant including one of Max Meldrum: Fredda Brilliant (Polish, 1903-1999)
Duncan Grant RA (1885-1978), British painter and designer of textiles, pottery, theatre sets and costumes and a member of the Bloomsbury Group; Duncan Max Meldrum (Australian, 1875-1955), Scottish-born Australian painter, known as the founder of Australian Tonalism; Teresa Topolski, daughter of the painter Feliks Topolski RA
All signed and dated 1975, 1941 and 1951 respectively
All plaster
47cm high; 43cm high; 37cm high (4)
With a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)

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Meldrum Max portrait bust of by Fredda Brilliant

Reference: see WOOLLEY & WALLIS auction, UK, 5 June, 2019, lot 20 had 3 lots by Fredda Brilliant including one of Max Meldrum: Fredda Brilliant (Polish, 1903-1999)
Duncan Grant RA (1885-1978), British painter and designer of textiles, pottery, theatre sets and costumes and a member of the Bloomsbury Group; Duncan Max Meldrum (Australian, 1875-1955), Scottish-born Australian painter, known as the founder of Australian Tonalism; Teresa Topolski, daughter of the painter Feliks Topolski RA
All signed and dated 1975, 1941 and 1951 respectively
All plaster
47cm high; 43cm high; 37cm high (4)
With a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)

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Stone Sarahview full entry

Reference: Hordern House catalogue, May, 2019:

STONE, Sarah [SMITH].
Album of fine watercolours by the artist of the Leverian Museum, in striking original condition.
England, the album assembled circa 1825-1830, but the watercolours significantly earlier, the natural history works (by both style and subject) dating from the 1790s.
Quarto album, 40 original watercolours tipped onto coloured pages, most signed “Sarah Smith” (see the handlist), ornately gilt-printed title-page with added hand-painted monogram in gilt reading “JLS & SS”; the binding of an embossed design of maroon roan, with central classical motif surrounded by an ornate floral pattern, signed by the manufacturer Remnant & Edwards with gilt-stamped “Scrap Book” lettered on the spine.
An intimate family album with beautiful original watercolours by Sarah Stone
A beautiful and varied album of watercolours by the natural history artist Sarah Stone, the great majority signed with her married name and therefore dating from after her 1789 marriage to John Langdale Smith, by far the least known and studied period of her work as an artist. The album is a dazzling testament to Stone’s range and skill, and also the key that will help unlock more details of her professional work in later life, coinciden- tally the period when she did her most sustained work on Australian subjects. All of the watercolours showcase her remarkable skill as a fine watercolourist as well as her contin- ued interest in exotic ethnography and natural history.
This is an enigmatic collection, but a revealing one too, showing Stone still working on items with a Leverian connection, but also broadening her perspective to include a series of scenes that have a very familial and domestic style, resulting in a more than normally personal selection, to the extent that it is difficult not to speculate that some of the holi- day scenes on the coast of England and in the highlands of what looks like Scotland (or perhaps Switzerland), may in fact be autobiographical views.
This hypothesis is supported by the fact that this fine and personal collection was clearly a treasured family heirloom, both because of the nature of the pictures and notably that Stone has added the family monogram “JLS & SS” to the title-page. Given that the bind- ing can be dated very accurately to the late 1820s, around the same time that her husband was afflicted by chronic illness (until his untimely death in 1827), we consider the album is very likely to have been designed as a memento or gift, one would like to think to their only child, Henry.
Stone was one of the finest watercolourists of her generation and made a signal contribu- tion to the natural history of the Pacific and Australia, originally through her involve- ment with the most influential private museum of the late eighteenth century, the Lever- ian, and later as the artist responsible for preparing the illustrations for Surgeon John White’s book on New South Wales, one of the great First Fleet accounts and considered the foundation work of Australian ornithology. This context reinforces what is doubtless the most significant aspect of the present album, the series of six wonderful depictions
of parrots, including at least one Australian native (what seems certain to be a slightly moth-eaten Rosella, still recognisable despite the vagaries of taxidermy in this pioneering era).
Indeed, it is possible to argue that the fact that all of the works are signed Smith (not Stone), when combined with the rather moulted aspect of some of the birds depicted,is the closest thing to a time-stamp that could be imagined on an undated watercolour: after 1789 because of the change in her name, but before the end of the 1790s because of the physical condition of the birds being depicted. That is, and precisely as one would expect, in terms of the condition and appearance of the parrots, the closest stylistic con- nection is with White’s Journal (1790) and the Museum Leverianum (1792-1796), both of which feature many birds in rather stiff poses and with sometimes rather coarse or discoloured feathers.
Certainly, there is no gainsaying either the quality of the importance of the six exotic par- rots in the album. Of the six, one has been firmly identified as an African Grey, Psittacus erithacus (see Jackson, p. 21), two are likely to be Indonesian species, and one is thought to be a (probably juvenile) Rainbow Lorikeet (as yet, the other two remain unknown, al- though one could feasibly be a juvenile Rosella). The Rainbow Lorikeet, one of the most striking birds of the eastern seaboard, was becoming well-known to bird-fanciers of the day, usually being referred to as the “Blue-Bellied Parrot” which makes the present depic- tion, quite unlike any of the engravings of the era, of great import.
A fourth sheet in the album depicts three beautifully-rendered seabirds, two gulls and a tern, on a rocky outcrop overlooking a bay, all of which are exquisitely delineated. Al- though another marvellous example of Stone’s work, there is nothing about any of the seabirds that would confirm their locality (although, of course, Cook’s crew were not alone in collecting seabirds in remoter parts of the oceans, so a connection to the Lever- ian is certainly plausible).
Another familiar inclusion in the Leverian were sharks (and their teeth), which formed
a substantial section of the collection, part of a much larger group that took in animals such as rays, fish and whales (see, for example, the 1790-published Companion to the Museum, esp. pp. 37-38). The present album includes a fine example of a shark very simi- lar to one depicted in Stone’s so-called Sketchbook I, and since reproduced in Kaeppler’s Holophusicon (p. 72).
Of course, of all of the fields of natural history none were more avidly collected in the eighteenth century than shells, which were strongly represented in the Leverian and many other private collections, and the album also includes an uncommonly fine work depicting seven exotic specimens, dominated by a large Charonia, as well as a fine Cone with purple striations and another with an opalescent green.
The last of the definitively Leverian works is an exceptionally important depiction of the “Tahitian Chief Mourner”, one of the most important religious figures from the island chain. The Mourner’s headdress and clothing, made of tapa, shells and feathers, fascinated Cook and his artists, and Cook was personally presented with the only intact examples, all of which were keenly sought after by collectors in England, and which have now been recognised as some of the most important eighteenth-century artefacts of Tahiti and the Cook voyages alike. Stone’s depiction here is, at first glance, not unlike another of her wa- tercolours now in the Bishop Museum (see Kaeppler, Artificial Curiosities, p. 124), but it
is quite clear on closer inspection that two distinct outfits are depicted in the two images, as can be seen in terms of the layout of the mother-of-pearl face pieces, and notably the very different feathered skirting.
Similarly, while the decoration on the front skirt of Stone’s watercolour here is quite similar to the various depictions included on plates from Cook’s second voyage, after the voyage artist William Hodges, there are any number of differences, best seen in the style of the fan-headdress, the blockier shoulder-piece, as well as the worked skirting, here ren- dered in tremendous detail. In short, while the connections between the known sketches and known examples of the Mourner’s dress have been much researched, not only is the present sketch new and otherwise unrecorded, it is certainly possible that it depicts the “lost” example of the dress, from the second voyage, recorded in the Leverian collection but not since sighted (on the lost example, see Kaeppler, Artificial Curiosities, p. 125). If true, this will be a signal rediscovery, but regardless, the freshness of the colour in the present album provides a real vision of the blue-green colouring of the feather tassels on the shoulders, and the pinkish tinge of the head-dress.
All-in-all, the album is a fascinating assemblage, with everything from a series of Stone’s signature depictions of exotic birds and sea-life, to a crucially important image of the Tahitian Chief Mourner which will shed light on that enigmatic religious figure, through to bucolic barnyard scenes, a pair of religious icons, and a number of rural scenes that appear to show holiday-makers. It is the most substantial collection of Stone works sold in decades, the only known group firmly associated with the phase of her work after her marriage (the clear implication being that she continued to work but did not sign engrav- ings from this second phase), and the only album with a known provenance to her family: an important and very beautiful collection.
Sarah Stone
Sarah Stone (c. 1760-1844) was born in London, the daughter of a fan painter who learnt the trade with her father (clearly the technique of fan painting was an almost ideal apprenticeship for fine natural history drawing, as is evidenced by the fact that her near contemporary Nicolas-Martin Petit (1777-1804) had a similar family background).
Stone was only in her mid-teens when her preternatural ability was recognised by Sir Ashton Lever, the owner of the greatest collection of natural history and objects of curiosity assembled in the late eighteenth century. Lever employed her as the central artist responsible for depicting his collection, and she is known to have been working for him by 1777 at the latest. Stone “spent hours in Sir Ashton Lever’s museum, faithfully drawing and painting mounted birds, insects, mammals, fishes, lizards, fossils, minerals, shells and coral from all over the world, as well as ethnographical artefacts brought back from exploratory voyages, including those of Captain Cook” ( Jackson, Sarah Stone, p. 9). The drawings that she produced of the Hawaiian and Pacific Northwest coast specimens are in many cases all that survive of the wonderful materials gathered at various points of first European contact.
Her output was so well-regarded that when the lottery of the Leverian was first bruited the British government specifically exempted her drawings from the sale, with Lever be- ing “empowered to sell and dispose of the said Museum, and the several pieces compos- ing the same (the Drawings of Miss Sarah Stone only excepted).”
The natural focus on Stone’s connection to Cook’s voyages and the enormous number of Pacific artefacts and specimens she depicted, has tended to obscure her importance for the early natural history of Australia, which was profound, chiefly because of her central role in the publication of First Fleet surgeon John White’s Journal of a Voyage to New South Wales of 1790. The Journal was based on White’s private account of his first months in Australia which he forwarded to his friend in England, Thomas Wilson, to be pub- lished. White also sent home a large number of natural history specimens, chiefly birds, that were then drawn by artists in London: Stone’s ability was such that she is credited on half of the 65 engravings that were published in White’s book, and is in fact usually credited with having produced 49 of them.
Stone’s work on White’s book was also the last major project she officially undertook. In 1789 she had married a young naval officer called John Langland Smith and her output slowed dramatically, with the last known work in her name dated 1806, perhaps not coincidentally the same year that Lever’s collection was finally dispersed at auction. Little is recorded about her later life, although her husband continued in the Navy until 1806, making several runs to the West Indies, and he clearly continued to encourage her work, as is attested by a surviving sketch of hers which shows a bird he bought back on one of his trans-Atlantic voyages. John was admitted to Greenwich Hospital in 1823 and died 30 October 1827, “after a tedious illness.”
They had one son, Henry Stone Smith (1795-1881), with whose family Stone lived
for many years, dying at his house in Westminster on 11 January 1844 at the age of 82. Curiously, despite having a relatively large family himself, Henry had only one recorded grandchild, Florence Sophia Nightingale (b. 1860).
The details of Stone’s later life are so thin that it may prove to be the case that the present album adds significantly to her biography.
The main repositories of Stone works are some of the most established international col- lections, notably the Natural History Museum, London; the State Library of New South Wales; the Australian Museum; and the Bishop Museum, Hawaii. Although individual works by Stone are still not infrequently offered for sale, whole albums are only exceed- ingly rarely offered for sale (the album in the Bishop Museum, for example, was origi- nally sold in 1932 before being donated by its buyer, Capt. A.W.F. Fuller, while an album of 31 of Stone’s watercolours in the SLNSW was purchased in 2000).
Provenance
The presence of the monogram on the ornately-printed title-page, the letters “JLS & SS” added in gilt (for John Langdale Smith and Sarah Smith), confirms that the album originally belonged to Stone and her husband. In this light, the embossed binding itself is of some interest, being a known design manufactured by Remnant & Edwards in the late 1820s, further confirming that this collection would date from the lifetime of the Smith family. By the mid-twentieth century the album was in the possession of Elizabeth Bateman, who started work at Hall’s Bookshop in Royal Tunbridge Wells, Kent, in 1955, and ran the store from 1967 until her death in 1983. The album remained with her descendants until recently sold in the UK. Hall’s first opened in 1898, so there is a chance that the album was first acquired by the company much earlier: one curi- ous fact is that Henry Stone Smith is listed as having died in Kent (although admittedly at Thanet, on the diametrically opposite side of the county).
Bibliography
Christine E. Jackson, Sarah Stone: Natural Curiosities from the New World (London, 1998); Adrienne Kaeppler, Holophusicon: The Leverian Museum (Germany, 2011); [King & Lochee], Catalogue of the Leverian Museum (London, 1806); [Leverian]. A Companion to the Museum, (late Sir Ashton Lever’s) (London, 1790).

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Stone Sarah

Reference: Hordern House catalogue, May, 2019:

STONE, Sarah [SMITH].
Album of fine watercolours by the artist of the Leverian Museum, in striking original condition.
England, the album assembled circa 1825-1830, but the watercolours significantly earlier, the natural history works (by both style and subject) dating from the 1790s.
Quarto album, 40 original watercolours tipped onto coloured pages, most signed “Sarah Smith” (see the handlist), ornately gilt-printed title-page with added hand-painted monogram in gilt reading “JLS & SS”; the binding of an embossed design of maroon roan, with central classical motif surrounded by an ornate floral pattern, signed by the manufacturer Remnant & Edwards with gilt-stamped “Scrap Book” lettered on the spine.
An intimate family album with beautiful original watercolours by Sarah Stone
A beautiful and varied album of watercolours by the natural history artist Sarah Stone, the great majority signed with her married name and therefore dating from after her 1789 marriage to John Langdale Smith, by far the least known and studied period of her work as an artist. The album is a dazzling testament to Stone’s range and skill, and also the key that will help unlock more details of her professional work in later life, coinciden- tally the period when she did her most sustained work on Australian subjects. All of the watercolours showcase her remarkable skill as a fine watercolourist as well as her contin- ued interest in exotic ethnography and natural history.
This is an enigmatic collection, but a revealing one too, showing Stone still working on items with a Leverian connection, but also broadening her perspective to include a series of scenes that have a very familial and domestic style, resulting in a more than normally personal selection, to the extent that it is difficult not to speculate that some of the holi- day scenes on the coast of England and in the highlands of what looks like Scotland (or perhaps Switzerland), may in fact be autobiographical views.
This hypothesis is supported by the fact that this fine and personal collection was clearly a treasured family heirloom, both because of the nature of the pictures and notably that Stone has added the family monogram “JLS & SS” to the title-page. Given that the bind- ing can be dated very accurately to the late 1820s, around the same time that her husband was afflicted by chronic illness (until his untimely death in 1827), we consider the album is very likely to have been designed as a memento or gift, one would like to think to their only child, Henry.
Stone was one of the finest watercolourists of her generation and made a signal contribu- tion to the natural history of the Pacific and Australia, originally through her involve- ment with the most influential private museum of the late eighteenth century, the Lever- ian, and later as the artist responsible for preparing the illustrations for Surgeon John White’s book on New South Wales, one of the great First Fleet accounts and considered the foundation work of Australian ornithology. This context reinforces what is doubtless the most significant aspect of the present album, the series of six wonderful depictions
of parrots, including at least one Australian native (what seems certain to be a slightly moth-eaten Rosella, still recognisable despite the vagaries of taxidermy in this pioneering era).
Indeed, it is possible to argue that the fact that all of the works are signed Smith (not Stone), when combined with the rather moulted aspect of some of the birds depicted,is the closest thing to a time-stamp that could be imagined on an undated watercolour: after 1789 because of the change in her name, but before the end of the 1790s because of the physical condition of the birds being depicted. That is, and precisely as one would expect, in terms of the condition and appearance of the parrots, the closest stylistic con- nection is with White’s Journal (1790) and the Museum Leverianum (1792-1796), both of which feature many birds in rather stiff poses and with sometimes rather coarse or discoloured feathers.
Certainly, there is no gainsaying either the quality of the importance of the six exotic par- rots in the album. Of the six, one has been firmly identified as an African Grey, Psittacus erithacus (see Jackson, p. 21), two are likely to be Indonesian species, and one is thought to be a (probably juvenile) Rainbow Lorikeet (as yet, the other two remain unknown, al- though one could feasibly be a juvenile Rosella). The Rainbow Lorikeet, one of the most striking birds of the eastern seaboard, was becoming well-known to bird-fanciers of the day, usually being referred to as the “Blue-Bellied Parrot” which makes the present depic- tion, quite unlike any of the engravings of the era, of great import.
A fourth sheet in the album depicts three beautifully-rendered seabirds, two gulls and a tern, on a rocky outcrop overlooking a bay, all of which are exquisitely delineated. Al- though another marvellous example of Stone’s work, there is nothing about any of the seabirds that would confirm their locality (although, of course, Cook’s crew were not alone in collecting seabirds in remoter parts of the oceans, so a connection to the Lever- ian is certainly plausible).
Another familiar inclusion in the Leverian were sharks (and their teeth), which formed
a substantial section of the collection, part of a much larger group that took in animals such as rays, fish and whales (see, for example, the 1790-published Companion to the Museum, esp. pp. 37-38). The present album includes a fine example of a shark very simi- lar to one depicted in Stone’s so-called Sketchbook I, and since reproduced in Kaeppler’s Holophusicon (p. 72).
Of course, of all of the fields of natural history none were more avidly collected in the eighteenth century than shells, which were strongly represented in the Leverian and many other private collections, and the album also includes an uncommonly fine work depicting seven exotic specimens, dominated by a large Charonia, as well as a fine Cone with purple striations and another with an opalescent green.
The last of the definitively Leverian works is an exceptionally important depiction of the “Tahitian Chief Mourner”, one of the most important religious figures from the island chain. The Mourner’s headdress and clothing, made of tapa, shells and feathers, fascinated Cook and his artists, and Cook was personally presented with the only intact examples, all of which were keenly sought after by collectors in England, and which have now been recognised as some of the most important eighteenth-century artefacts of Tahiti and the Cook voyages alike. Stone’s depiction here is, at first glance, not unlike another of her wa- tercolours now in the Bishop Museum (see Kaeppler, Artificial Curiosities, p. 124), but it
is quite clear on closer inspection that two distinct outfits are depicted in the two images, as can be seen in terms of the layout of the mother-of-pearl face pieces, and notably the very different feathered skirting.
Similarly, while the decoration on the front skirt of Stone’s watercolour here is quite similar to the various depictions included on plates from Cook’s second voyage, after the voyage artist William Hodges, there are any number of differences, best seen in the style of the fan-headdress, the blockier shoulder-piece, as well as the worked skirting, here ren- dered in tremendous detail. In short, while the connections between the known sketches and known examples of the Mourner’s dress have been much researched, not only is the present sketch new and otherwise unrecorded, it is certainly possible that it depicts the “lost” example of the dress, from the second voyage, recorded in the Leverian collection but not since sighted (on the lost example, see Kaeppler, Artificial Curiosities, p. 125). If true, this will be a signal rediscovery, but regardless, the freshness of the colour in the present album provides a real vision of the blue-green colouring of the feather tassels on the shoulders, and the pinkish tinge of the head-dress.
All-in-all, the album is a fascinating assemblage, with everything from a series of Stone’s signature depictions of exotic birds and sea-life, to a crucially important image of the Tahitian Chief Mourner which will shed light on that enigmatic religious figure, through to bucolic barnyard scenes, a pair of religious icons, and a number of rural scenes that appear to show holiday-makers. It is the most substantial collection of Stone works sold in decades, the only known group firmly associated with the phase of her work after her marriage (the clear implication being that she continued to work but did not sign engrav- ings from this second phase), and the only album with a known provenance to her family: an important and very beautiful collection.
Sarah Stone
Sarah Stone (c. 1760-1844) was born in London, the daughter of a fan painter who learnt the trade with her father (clearly the technique of fan painting was an almost ideal apprenticeship for fine natural history drawing, as is evidenced by the fact that her near contemporary Nicolas-Martin Petit (1777-1804) had a similar family background).
Stone was only in her mid-teens when her preternatural ability was recognised by Sir Ashton Lever, the owner of the greatest collection of natural history and objects of curiosity assembled in the late eighteenth century. Lever employed her as the central artist responsible for depicting his collection, and she is known to have been working for him by 1777 at the latest. Stone “spent hours in Sir Ashton Lever’s museum, faithfully drawing and painting mounted birds, insects, mammals, fishes, lizards, fossils, minerals, shells and coral from all over the world, as well as ethnographical artefacts brought back from exploratory voyages, including those of Captain Cook” ( Jackson, Sarah Stone, p. 9). The drawings that she produced of the Hawaiian and Pacific Northwest coast specimens are in many cases all that survive of the wonderful materials gathered at various points of first European contact.
Her output was so well-regarded that when the lottery of the Leverian was first bruited the British government specifically exempted her drawings from the sale, with Lever be- ing “empowered to sell and dispose of the said Museum, and the several pieces compos- ing the same (the Drawings of Miss Sarah Stone only excepted).”
The natural focus on Stone’s connection to Cook’s voyages and the enormous number of Pacific artefacts and specimens she depicted, has tended to obscure her importance for the early natural history of Australia, which was profound, chiefly because of her central role in the publication of First Fleet surgeon John White’s Journal of a Voyage to New South Wales of 1790. The Journal was based on White’s private account of his first months in Australia which he forwarded to his friend in England, Thomas Wilson, to be pub- lished. White also sent home a large number of natural history specimens, chiefly birds, that were then drawn by artists in London: Stone’s ability was such that she is credited on half of the 65 engravings that were published in White’s book, and is in fact usually credited with having produced 49 of them.
Stone’s work on White’s book was also the last major project she officially undertook. In 1789 she had married a young naval officer called John Langland Smith and her output slowed dramatically, with the last known work in her name dated 1806, perhaps not coincidentally the same year that Lever’s collection was finally dispersed at auction. Little is recorded about her later life, although her husband continued in the Navy until 1806, making several runs to the West Indies, and he clearly continued to encourage her work, as is attested by a surviving sketch of hers which shows a bird he bought back on one of his trans-Atlantic voyages. John was admitted to Greenwich Hospital in 1823 and died 30 October 1827, “after a tedious illness.”
They had one son, Henry Stone Smith (1795-1881), with whose family Stone lived
for many years, dying at his house in Westminster on 11 January 1844 at the age of 82. Curiously, despite having a relatively large family himself, Henry had only one recorded grandchild, Florence Sophia Nightingale (b. 1860).
The details of Stone’s later life are so thin that it may prove to be the case that the present album adds significantly to her biography.
The main repositories of Stone works are some of the most established international col- lections, notably the Natural History Museum, London; the State Library of New South Wales; the Australian Museum; and the Bishop Museum, Hawaii. Although individual works by Stone are still not infrequently offered for sale, whole albums are only exceed- ingly rarely offered for sale (the album in the Bishop Museum, for example, was origi- nally sold in 1932 before being donated by its buyer, Capt. A.W.F. Fuller, while an album of 31 of Stone’s watercolours in the SLNSW was purchased in 2000).
Provenance
The presence of the monogram on the ornately-printed title-page, the letters “JLS & SS” added in gilt (for John Langdale Smith and Sarah Smith), confirms that the album originally belonged to Stone and her husband. In this light, the embossed binding itself is of some interest, being a known design manufactured by Remnant & Edwards in the late 1820s, further confirming that this collection would date from the lifetime of the Smith family. By the mid-twentieth century the album was in the possession of Elizabeth Bateman, who started work at Hall’s Bookshop in Royal Tunbridge Wells, Kent, in 1955, and ran the store from 1967 until her death in 1983. The album remained with her descendants until recently sold in the UK. Hall’s first opened in 1898, so there is a chance that the album was first acquired by the company much earlier: one curi- ous fact is that Henry Stone Smith is listed as having died in Kent (although admittedly at Thanet, on the diametrically opposite side of the county).
Bibliography
Christine E. Jackson, Sarah Stone: Natural Curiosities from the New World (London, 1998); Adrienne Kaeppler, Holophusicon: The Leverian Museum (Germany, 2011); [King & Lochee], Catalogue of the Leverian Museum (London, 1806); [Leverian]. A Companion to the Museum, (late Sir Ashton Lever’s) (London, 1790).

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Milbert Jacques view full entry

Reference: see Hordern House catalogue, May, 2019:

Original drawing of a scene in Mauritius…
[BAUDIN VOYAGE] MILBERT, Jacques Gérard.
Mauritius: 1801-1803.
Pencil sketch, 135 x 195 mm.; laid down on the original blue-paper mount, signed on the lower left of the mount and captioned.
Rare original view in Mauritius by one of Baudin's artists

A striking pencil sketch by the Baudin voyage artist Milbert, done in the south-west of Mauritius after he had jumped ship from the Géographe in 1801.
Jacques-Gérard Milbert (1766-1840) joined the Baudin expedition as one of the official artists but took advantage of an illness to be left in Port Louis when the ships sailed for New Holland (several of his shipmates commented that the artist had seemed depressed and anxious about the voyage). In a curious twist, Milbert was still in Port Louis when the Géographe returned from Australia in 1803, and rejoined the expedition.
Back in France, Milbert was given the task of overseeing the publication of the plates for Péron and Freycinet's official account (1807-1816), and also wrote his own companion account, the Voyage Pittoresque of 1812, a work of great significance for the natural history of the region, in which he described himself as both a Baudin artist and the "directeur" of engravings.
In his book Milbert wrote that during his time on the island he made two long expeditions in the south-east, and was overawed by the rugged wonder of the landscape, particularly in the locality of the present scene, along the small and remote Rivière du Tamarin with its "plusieurs cascades magnifiques." He poetically recounted how in the region one travelled to the sound of the blows of the axes clearing a path through the liana which enveloped the trees, and how many of the larger trees appeared to have been thrown down by nature to serve the weaker and parasitic vegetations, and to nourish them in the otherwise barren earth: as a description of the present scene this could scarcely be bettered.
The sketch showcases Milbert's particular skill in rendering botanical scenes and makes an important addition to the rather slender group of known works by him, particularly relating to his time in the Indian Ocean. Of the three men in the clearing, the seated figure at far left in a hat is likely to be Milbert himself, given that a similar figure with a palette also appears in many of his finished engravings.
On an intimate scale and full of botanical detail, this sketch makes a fascinating counterpoint to the great engraved views of his book, most obviously one showing the main waterfall at the nearby "Cascade du Tamarin", but also to several others which show slaves labouring to fell trees and mill logs.

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Provenance: United States source, believed to derive from the same original source as the Lesueur drawing described at catalogue number 3 and to have been among the archive left in America by Milbert.
Nicolas Baudin, The Journal of Post Captain Nicolas Baudin (Adelaide, 1974); Jacques Gérard Milbert, Voyage pittoresque à l'Ile de France (Paris, 1812).

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Milbert Jacques

Reference: see Hordern House catalogue, May, 2019:

Original drawing of a scene in Mauritius…
[BAUDIN VOYAGE] MILBERT, Jacques Gérard.
Mauritius: 1801-1803.
Pencil sketch, 135 x 195 mm.; laid down on the original blue-paper mount, signed on the lower left of the mount and captioned.
Rare original view in Mauritius by one of Baudin's artists

A striking pencil sketch by the Baudin voyage artist Milbert, done in the south-west of Mauritius after he had jumped ship from the Géographe in 1801.
Jacques-Gérard Milbert (1766-1840) joined the Baudin expedition as one of the official artists but took advantage of an illness to be left in Port Louis when the ships sailed for New Holland (several of his shipmates commented that the artist had seemed depressed and anxious about the voyage). In a curious twist, Milbert was still in Port Louis when the Géographe returned from Australia in 1803, and rejoined the expedition.
Back in France, Milbert was given the task of overseeing the publication of the plates for Péron and Freycinet's official account (1807-1816), and also wrote his own companion account, the Voyage Pittoresque of 1812, a work of great significance for the natural history of the region, in which he described himself as both a Baudin artist and the "directeur" of engravings.
In his book Milbert wrote that during his time on the island he made two long expeditions in the south-east, and was overawed by the rugged wonder of the landscape, particularly in the locality of the present scene, along the small and remote Rivière du Tamarin with its "plusieurs cascades magnifiques." He poetically recounted how in the region one travelled to the sound of the blows of the axes clearing a path through the liana which enveloped the trees, and how many of the larger trees appeared to have been thrown down by nature to serve the weaker and parasitic vegetations, and to nourish them in the otherwise barren earth: as a description of the present scene this could scarcely be bettered.
The sketch showcases Milbert's particular skill in rendering botanical scenes and makes an important addition to the rather slender group of known works by him, particularly relating to his time in the Indian Ocean. Of the three men in the clearing, the seated figure at far left in a hat is likely to be Milbert himself, given that a similar figure with a palette also appears in many of his finished engravings.
On an intimate scale and full of botanical detail, this sketch makes a fascinating counterpoint to the great engraved views of his book, most obviously one showing the main waterfall at the nearby "Cascade du Tamarin", but also to several others which show slaves labouring to fell trees and mill logs.

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Provenance: United States source, believed to derive from the same original source as the Lesueur drawing described at catalogue number 3 and to have been among the archive left in America by Milbert.
Nicolas Baudin, The Journal of Post Captain Nicolas Baudin (Adelaide, 1974); Jacques Gérard Milbert, Voyage pittoresque à l'Ile de France (Paris, 1812).

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Forde Helenaview full entry

Reference: see Hordern House catalogue, May, 2019:

Pen & ink drawing with a central coloured oval photograph of a young girl…
FORDE, Helena.
21st July 1875.
Pen drawing, signed at bottom 'Helena Forde delt. 21 July 1875'; on thin card with an embossed stamp of [G]oodall's Bristol Board. 380 x 310 mm, backed onto board; the drawing surrounding an oval hand-painted photograph of a young girl, 73 x 56 mm,
An Australian natural history cornucopia

A charming original natural history painting by Helena Forde (née Scott, 1832-1910). Helena and Harriet Scott were the foremost natural science painters in New South Wales from 1850 until 1900: "true artists and naturalists of note" as described by Rose Docker of the Australian Museum. Through prodigious talent, the two sisters became highly skilled artists, natural history illustrators and specimen collectors, shining in what was essentially a male domain in 19th-century Australia. With the guidance of their Hunter Valley neighbour, S. T. Gill, the sisters also became accomplished lithographers.
Both Helena and Harriet were educated by their father, Alexander Walker Scott, first in Sydney and later on their father's estate, Ash Island. A visiting Ludwig Leichhardt had observed in 1842 "…it is a remarkably fine place, not only to enjoy the beauty of nature, a broad shining river, a luxuriant vegetation, a tasteful comfortable cottage with a plantation of orange trees, but to collect a great number of plants which I had never seen before… Climbing Polypodium, the Aerostichum growing on the trees, a great number of creepers, the nettle Tree, the Caper, the native Olive and many others".
This picture captures the exotic abundance of Ash Island with wallabies, cockatoos and water birds in an idealised botanical paradise of ferns, water lilies and native gums, all set within a finely drawn pen border. The identification of the sitter is not confirmed, but the slight chin line, sculptured nose and soulful eyes suggest the young girl is of the Scott family; such features can be seen in the photograph of Helena held in the collections of the Australian Museum.
Helena, still a young woman on the death of her father as well as her husband Edward Forde, was forced to seek commissions for her economic survival. During the 19th century Helena and Harriet "executed almost all the art work for scientific literature in New South Wales..." (Australian Museum). Commissions came from the leading families, Macleay, Macarthur and Mort to name just a few, and the extensive Scott family archives are now held in the Australian Museum and the State Library of New South Wales. Original paintings by either Helena or Harriet are rarely seen on the market.
As one of Australia's earliest professional female artists, this beautifully drawn work illustrates both Helena's outstanding artistic competence and deep knowledge of Australia's exotic natural history.

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Forde Helena

Reference: see Hordern House catalogue, May, 2019:

Pen & ink drawing with a central coloured oval photograph of a young girl…
FORDE, Helena.
21st July 1875.
Pen drawing, signed at bottom 'Helena Forde delt. 21 July 1875'; on thin card with an embossed stamp of [G]oodall's Bristol Board. 380 x 310 mm, backed onto board; the drawing surrounding an oval hand-painted photograph of a young girl, 73 x 56 mm,
An Australian natural history cornucopia

A charming original natural history painting by Helena Forde (née Scott, 1832-1910). Helena and Harriet Scott were the foremost natural science painters in New South Wales from 1850 until 1900: "true artists and naturalists of note" as described by Rose Docker of the Australian Museum. Through prodigious talent, the two sisters became highly skilled artists, natural history illustrators and specimen collectors, shining in what was essentially a male domain in 19th-century Australia. With the guidance of their Hunter Valley neighbour, S. T. Gill, the sisters also became accomplished lithographers.
Both Helena and Harriet were educated by their father, Alexander Walker Scott, first in Sydney and later on their father's estate, Ash Island. A visiting Ludwig Leichhardt had observed in 1842 "…it is a remarkably fine place, not only to enjoy the beauty of nature, a broad shining river, a luxuriant vegetation, a tasteful comfortable cottage with a plantation of orange trees, but to collect a great number of plants which I had never seen before… Climbing Polypodium, the Aerostichum growing on the trees, a great number of creepers, the nettle Tree, the Caper, the native Olive and many others".
This picture captures the exotic abundance of Ash Island with wallabies, cockatoos and water birds in an idealised botanical paradise of ferns, water lilies and native gums, all set within a finely drawn pen border. The identification of the sitter is not confirmed, but the slight chin line, sculptured nose and soulful eyes suggest the young girl is of the Scott family; such features can be seen in the photograph of Helena held in the collections of the Australian Museum.
Helena, still a young woman on the death of her father as well as her husband Edward Forde, was forced to seek commissions for her economic survival. During the 19th century Helena and Harriet "executed almost all the art work for scientific literature in New South Wales..." (Australian Museum). Commissions came from the leading families, Macleay, Macarthur and Mort to name just a few, and the extensive Scott family archives are now held in the Australian Museum and the State Library of New South Wales. Original paintings by either Helena or Harriet are rarely seen on the market.
As one of Australia's earliest professional female artists, this beautifully drawn work illustrates both Helena's outstanding artistic competence and deep knowledge of Australia's exotic natural history.

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Scott Helena nee Fordeview full entry

Reference: see Hordern House catalogue, May, 2019:

Pen & ink drawing with a central coloured oval photograph of a young girl…
FORDE, Helena.
21st July 1875.
Pen drawing, signed at bottom 'Helena Forde delt. 21 July 1875'; on thin card with an embossed stamp of [G]oodall's Bristol Board. 380 x 310 mm, backed onto board; the drawing surrounding an oval hand-painted photograph of a young girl, 73 x 56 mm,
An Australian natural history cornucopia

A charming original natural history painting by Helena Forde (née Scott, 1832-1910). Helena and Harriet Scott were the foremost natural science painters in New South Wales from 1850 until 1900: "true artists and naturalists of note" as described by Rose Docker of the Australian Museum. Through prodigious talent, the two sisters became highly skilled artists, natural history illustrators and specimen collectors, shining in what was essentially a male domain in 19th-century Australia. With the guidance of their Hunter Valley neighbour, S. T. Gill, the sisters also became accomplished lithographers.
Both Helena and Harriet were educated by their father, Alexander Walker Scott, first in Sydney and later on their father's estate, Ash Island. A visiting Ludwig Leichhardt had observed in 1842 "…it is a remarkably fine place, not only to enjoy the beauty of nature, a broad shining river, a luxuriant vegetation, a tasteful comfortable cottage with a plantation of orange trees, but to collect a great number of plants which I had never seen before… Climbing Polypodium, the Aerostichum growing on the trees, a great number of creepers, the nettle Tree, the Caper, the native Olive and many others".
This picture captures the exotic abundance of Ash Island with wallabies, cockatoos and water birds in an idealised botanical paradise of ferns, water lilies and native gums, all set within a finely drawn pen border. The identification of the sitter is not confirmed, but the slight chin line, sculptured nose and soulful eyes suggest the young girl is of the Scott family; such features can be seen in the photograph of Helena held in the collections of the Australian Museum.
Helena, still a young woman on the death of her father as well as her husband Edward Forde, was forced to seek commissions for her economic survival. During the 19th century Helena and Harriet "executed almost all the art work for scientific literature in New South Wales..." (Australian Museum). Commissions came from the leading families, Macleay, Macarthur and Mort to name just a few, and the extensive Scott family archives are now held in the Australian Museum and the State Library of New South Wales. Original paintings by either Helena or Harriet are rarely seen on the market.
As one of Australia's earliest professional female artists, this beautifully drawn work illustrates both Helena's outstanding artistic competence and deep knowledge of Australia's exotic natural history.

×

Scott Helena nee Forde

Reference: see Hordern House catalogue, May, 2019:

Pen & ink drawing with a central coloured oval photograph of a young girl…
FORDE, Helena.
21st July 1875.
Pen drawing, signed at bottom 'Helena Forde delt. 21 July 1875'; on thin card with an embossed stamp of [G]oodall's Bristol Board. 380 x 310 mm, backed onto board; the drawing surrounding an oval hand-painted photograph of a young girl, 73 x 56 mm,
An Australian natural history cornucopia

A charming original natural history painting by Helena Forde (née Scott, 1832-1910). Helena and Harriet Scott were the foremost natural science painters in New South Wales from 1850 until 1900: "true artists and naturalists of note" as described by Rose Docker of the Australian Museum. Through prodigious talent, the two sisters became highly skilled artists, natural history illustrators and specimen collectors, shining in what was essentially a male domain in 19th-century Australia. With the guidance of their Hunter Valley neighbour, S. T. Gill, the sisters also became accomplished lithographers.
Both Helena and Harriet were educated by their father, Alexander Walker Scott, first in Sydney and later on their father's estate, Ash Island. A visiting Ludwig Leichhardt had observed in 1842 "…it is a remarkably fine place, not only to enjoy the beauty of nature, a broad shining river, a luxuriant vegetation, a tasteful comfortable cottage with a plantation of orange trees, but to collect a great number of plants which I had never seen before… Climbing Polypodium, the Aerostichum growing on the trees, a great number of creepers, the nettle Tree, the Caper, the native Olive and many others".
This picture captures the exotic abundance of Ash Island with wallabies, cockatoos and water birds in an idealised botanical paradise of ferns, water lilies and native gums, all set within a finely drawn pen border. The identification of the sitter is not confirmed, but the slight chin line, sculptured nose and soulful eyes suggest the young girl is of the Scott family; such features can be seen in the photograph of Helena held in the collections of the Australian Museum.
Helena, still a young woman on the death of her father as well as her husband Edward Forde, was forced to seek commissions for her economic survival. During the 19th century Helena and Harriet "executed almost all the art work for scientific literature in New South Wales..." (Australian Museum). Commissions came from the leading families, Macleay, Macarthur and Mort to name just a few, and the extensive Scott family archives are now held in the Australian Museum and the State Library of New South Wales. Original paintings by either Helena or Harriet are rarely seen on the market.
As one of Australia's earliest professional female artists, this beautifully drawn work illustrates both Helena's outstanding artistic competence and deep knowledge of Australia's exotic natural history.

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Miller John Frederickview full entry

Reference: see Hordern House catalogue, May, 2019:

Cimelia Physica: Figures of Rare and Curious Quadrupeds, Birds &c..... with Descriptions by George Shaw.
MILLER, John Frederick
London: Benjamin and John White, Horace's Head, Fleet Street and John Sewell, Cornhill, 1796.
Folio, two works bound together, with a total of 67 hand-coloured engraved plates (see note), several with manuscript captions and small annotations, bookplates; a magnificent tall copy in contemporary full calf, original gilt-decorated spine laid down, red morocco label.
By one of Sir Joseph Banks' outstanding natural history artists

A rare and extremely attractive work of natural history with magnificent ornithological, zoological and botanical plates, several depicting specimens collected on Cook's voyages for the first time. Unlike many contemporary works which included illustrations of the natural history of the Pacific, Miller's book is both folio-format and hand-coloured, to dazzling effect. This fine copy offered here is the early issue without later watermarks unlike others recorded.
All of the plates are by the artist John Frederick Miller (1759-1796), who cut his teeth engraving the plates for the official account of the Endeavour voyage (1773). Miller had planned to sail on Cook's second voyage with his patron, Sir Joseph Banks, but when Banks withdrew so did he, travelling instead as part of the Banks entourage to Iceland in 1772.
Starting in 1776, Miller began to publish these beautiful plates depicting the very latest and most striking discoveries: gulls and cassowaries, jerboas and falcons, as well as Cook specimens such as the two beautiful Tahitian Rails and the penguins from different regions of the southern oceans. He ultimately published 60 plates, creating a publication that is so rare that even its actual title is not firmly recorded; it is listed as either Icones Animalium et Plantarum or Various Subjects of Natural History.
The project was all but abandoned until, in the 1790s, the zoologist George Shaw recognised its importance, writing a substantial accompanying text and helping publish the whole as the Cimelia Physica ("treasures of the physical world"): while sometimes called for convenience's sake the "second edition", this is the first appearance of the complete book and the only edition ever offered for sale. At the time Shaw, a lecturer at the Leverian Museum, had recently published the first ever zoology of Australian animals, which is why the text here includes occasional printed comparisons with some of the animals of New Holland.
Beautifully bound, this volume includes a complete copy of the Cimelia Physica (essentially 60 plates & 106 pp. text), many of them with original manuscript captions, perhaps signifying early issue.
The present copy has added significance because the original owner has extra-illustrated it with a further seven exotic botanical plates and a leaf of text, including two depicting New Zealand specimens which also date from Cook's voyages. These plates were done by Miller's father Johann Sebastian Müller as a rare supplement to his Illustratio Systematis Sexualis Linnaei, published from 1775-1777, although these "Icones Novæ" plates are dated 1780 (see Soulsby, for a description of a similar copy in the British Museum).

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Provenance: "Wrest Park" bookplate of Thomas Philip Earl de Grey (1781-1859); ink stamp of twentieth-century collector Pierpaolo Vaccarino.
Nissen IVB, 638; Bird Books, p. 94; Sherborn & Iredale, 'J.F. Miller's Icones,' Ibis (1921); Soulsby, A Catalogue of the Works of Linnæus, no. 1224b; Stafleu & Cowan, 6033; Wood, p. 465; Zimmer, p. 585.

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Miller John Frederick

Reference: see Hordern House catalogue, May, 2019:

Cimelia Physica: Figures of Rare and Curious Quadrupeds, Birds &c..... with Descriptions by George Shaw.
MILLER, John Frederick
London: Benjamin and John White, Horace's Head, Fleet Street and John Sewell, Cornhill, 1796.
Folio, two works bound together, with a total of 67 hand-coloured engraved plates (see note), several with manuscript captions and small annotations, bookplates; a magnificent tall copy in contemporary full calf, original gilt-decorated spine laid down, red morocco label.
By one of Sir Joseph Banks' outstanding natural history artists

A rare and extremely attractive work of natural history with magnificent ornithological, zoological and botanical plates, several depicting specimens collected on Cook's voyages for the first time. Unlike many contemporary works which included illustrations of the natural history of the Pacific, Miller's book is both folio-format and hand-coloured, to dazzling effect. This fine copy offered here is the early issue without later watermarks unlike others recorded.
All of the plates are by the artist John Frederick Miller (1759-1796), who cut his teeth engraving the plates for the official account of the Endeavour voyage (1773). Miller had planned to sail on Cook's second voyage with his patron, Sir Joseph Banks, but when Banks withdrew so did he, travelling instead as part of the Banks entourage to Iceland in 1772.
Starting in 1776, Miller began to publish these beautiful plates depicting the very latest and most striking discoveries: gulls and cassowaries, jerboas and falcons, as well as Cook specimens such as the two beautiful Tahitian Rails and the penguins from different regions of the southern oceans. He ultimately published 60 plates, creating a publication that is so rare that even its actual title is not firmly recorded; it is listed as either Icones Animalium et Plantarum or Various Subjects of Natural History.
The project was all but abandoned until, in the 1790s, the zoologist George Shaw recognised its importance, writing a substantial accompanying text and helping publish the whole as the Cimelia Physica ("treasures of the physical world"): while sometimes called for convenience's sake the "second edition", this is the first appearance of the complete book and the only edition ever offered for sale. At the time Shaw, a lecturer at the Leverian Museum, had recently published the first ever zoology of Australian animals, which is why the text here includes occasional printed comparisons with some of the animals of New Holland.
Beautifully bound, this volume includes a complete copy of the Cimelia Physica (essentially 60 plates & 106 pp. text), many of them with original manuscript captions, perhaps signifying early issue.
The present copy has added significance because the original owner has extra-illustrated it with a further seven exotic botanical plates and a leaf of text, including two depicting New Zealand specimens which also date from Cook's voyages. These plates were done by Miller's father Johann Sebastian Müller as a rare supplement to his Illustratio Systematis Sexualis Linnaei, published from 1775-1777, although these "Icones Novæ" plates are dated 1780 (see Soulsby, for a description of a similar copy in the British Museum).

less
Provenance: "Wrest Park" bookplate of Thomas Philip Earl de Grey (1781-1859); ink stamp of twentieth-century collector Pierpaolo Vaccarino.
Nissen IVB, 638; Bird Books, p. 94; Sherborn & Iredale, 'J.F. Miller's Icones,' Ibis (1921); Soulsby, A Catalogue of the Works of Linnæus, no. 1224b; Stafleu & Cowan, 6033; Wood, p. 465; Zimmer, p. 585.

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Mendoza June AO OBE RP ROI b1924view full entry

Reference: see Rosebery’s auction, London, 11 June, 2019, lot 78: June Mendoza AO OBE RP ROI, Australian b.1924- Portrait of Miriam Karlin; oil on canvas, signed, 104x59cm (ARR) Note: This work has been donated to the Ben Uri Museum to be sold for the benefit of their collection programmes

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Mendoza June AO OBE RP ROI b1924

Reference: see Rosebery’s auction, London, 11 June, 2019, lot 78: June Mendoza AO OBE RP ROI, Australian b.1924- Portrait of Miriam Karlin; oil on canvas, signed, 104x59cm (ARR) Note: This work has been donated to the Ben Uri Museum to be sold for the benefit of their collection programmes

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Rose Joeview full entry

Reference: see Rosebery’s auction, London, 11 June, 2019, lot 304: Joe Rose, Australian/British 1915-1999- Untitled abstract; mixed media on board, signed, 90x120.5cm (ARR) Note: Between 1957 and 1971 Rose moved to Australia, where he was elected a member of the Australian Watercolour Institute. Upon returning to Britain, he joined the Contemporary Portrait Society, Contemporary Art Society, and Ben Uri Art Society.

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Rose Joe

Reference: see Rosebery’s auction, London, 11 June, 2019, lot 304: Joe Rose, Australian/British 1915-1999- Untitled abstract; mixed media on board, signed, 90x120.5cm (ARR) Note: Between 1957 and 1971 Rose moved to Australia, where he was elected a member of the Australian Watercolour Institute. Upon returning to Britain, he joined the Contemporary Portrait Society, Contemporary Art Society, and Ben Uri Art Society.

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Creed Lilla Pview full entry

Reference: Lilla P Creed aka Mrs Mrs W. Williamson or Harry Weldon Williamson

Mrs B Weldon Williamson exhibited I painting in Brisbane between 1884-1916. Tis was ‘Roses’ exhibited at the Queensland Art Society in 1892, number 51, priced at £21.0.0 (a comparatively high price). For the reference see Maynard Margaret & Brown Julie, Fine Art Exhibitions in Brisbane 1884-1916, Fryer Memorial Library Occasional Publication No. 1. Fryer Memorial Library, Brisbane, 1980. pb, 227pp, with an index to artists.


Exhibitor at ASNSW and/or RAS. See Fifty Years of Australian Art by Members of Royal Art Society [lists all exhibitors at the ASNSW and the RAS prior to 1929 with some biographical sketches and photographs of leading members]. The Royal Art Society Press, 1929, pb. Illustrated. All her exhibits with the Art Society can be found on the database held at the AGNSW Library.

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From DAAO:

Lilla P. Creed Artist (Painter)

Also known as Miss Creed, L.P. Creed, Elizabeth Creed, Lilla Williamson, Elizabeth Williamson, Lilla Creed
The artist was active as a still life flower painter in Sydney from the late 1880s until the time of her death in 1893. Still life painter active in Sydney from the late 1880s until the time of her death in 1893. The third daughter of Richard Creed of Cork, Ireland, little is known of Creed’s upbringing. Originally named Elizabeth, she was known professionally and privately as Lilla.
Creed arrived in Sydney from London in late 1886. In 1887 she began her involvement with the Art Society of NSW when she exhibited two works at their annual spring exhibition in Sydney. Over the next few years she was a regular exhibitor at the their annual exhibitions. Most of her listed exhibits were floral studies of mainly exotic flowers with prices ranging from two to twenty-one pounds. Other listed works include a landscape of Tahlee Pier, Port Stephens, and a decorative screen.
Creed married Harry W. Williamson in 1891 and lived at 'Carlton’, Sloane Street, Summer Hill, Sydney. Despite her marriage she continued to exhibit with the Art Society. She died in Sydney on 26 July 1893. As a tribute, three of her works were included in that year’s Art Society exhibition under the name of the late Mrs Williamson.
Writers:
Clifford-Smith, Silas
Date written:
2010
Last updated:
2011
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Good information about Lilla’s family from The Parish Magazine - The Anglican Parish of Epping

http://www.eppinganglicans.org.au/ParishMagazine/201612&201701.ParishMagazine.pdf

Includes this work:



*

The National Library’s Trove is a good source. Use it to search for “Lilla Creed” (21 hits) and “Lilla P Creed” (only 3 hits)

https://trove.nla.gov.au/newspaper/result?q=%22lilla+creed%22


One ‘hit’ at
The Sydney Mail and New South Wales Advertiser (NSW : 1871 - 1912) Sat 25 Jun 1892 Page 1447

https://trove.nla.gov.au/newspaper/article/162178878?searchTerm=%22lilla%20creed%22&searchLimits=

Lilla Creed at her marriage is given away by Mr E L Montifiore, who was a well known and respected artist in Sydney.



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https://trove.nla.gov.au/newspaper/article/76422894?searchTerm=%22lilla%20creed%22&searchLimits=

A review of the exhibition Women’s Work at the Art Society in The Dawn (Sydney, NSW : 1888 - 1905) Tue 5 Nov 1889 Page 6 includes:

Miss Flora Ross exhibited some good decorative work; a panel of rhododendrons and a table top, and Miss Ethel A. Stephens had no less than seven small pictures hung; these included two mountain landscapes, flower studies, etc. A study of "Plumbago," by
Sara E. Weiss ; "Peach Blossom" and "Rock Lillies," by Helen Willis; "Roses," by Mrs. G.
H. Halligan : "Roses." hy Mrs. J. A. Bennett, and "A study from Nature," by Lilla Creed completes the catalogue of works by women, the quality of which is a very gratifying evidence of the steadily perfecting skill of the women artists of our country.

*

https://trove.nla.gov.au/newspaper/article/236039575?searchTerm=%22lilla%20creed%22&searchLimits=

The Daily Telegraph (Sydney, NSW : 1883 - 1930) Sat 5 Aug 1893 Page 5


The circles of Australian art have sustained a severe loss in the recent death of Mrs. H. Weldon Williamson, better known, perhaps, as Lilla Creed, whose pictorial works always commanded attention whenever they were shown. At the Art Society exhibitions her paintings for some years past have been amongst the most admired on the walls : one of them, a largo floral panel, being chosen and purchased by the National Gallery trustees for the Australian Court in 1891. In addition to her individual productions Mrs. Williamson exerted a strong influence" for good over a number of art students, who will miss the wisdom of her counsel, as many an enthusiast will miss her brightly treated subjects from the future shows.

*

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Creed Lilla P

Reference: Lilla P Creed aka Mrs Mrs W. Williamson or Harry Weldon Williamson

Mrs B Weldon Williamson exhibited I painting in Brisbane between 1884-1916. Tis was ‘Roses’ exhibited at the Queensland Art Society in 1892, number 51, priced at £21.0.0 (a comparatively high price). For the reference see Maynard Margaret & Brown Julie, Fine Art Exhibitions in Brisbane 1884-1916, Fryer Memorial Library Occasional Publication No. 1. Fryer Memorial Library, Brisbane, 1980. pb, 227pp, with an index to artists.


Exhibitor at ASNSW and/or RAS. See Fifty Years of Australian Art by Members of Royal Art Society [lists all exhibitors at the ASNSW and the RAS prior to 1929 with some biographical sketches and photographs of leading members]. The Royal Art Society Press, 1929, pb. Illustrated. All her exhibits with the Art Society can be found on the database held at the AGNSW Library.

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From DAAO:

Lilla P. Creed Artist (Painter)

Also known as Miss Creed, L.P. Creed, Elizabeth Creed, Lilla Williamson, Elizabeth Williamson, Lilla Creed
The artist was active as a still life flower painter in Sydney from the late 1880s until the time of her death in 1893. Still life painter active in Sydney from the late 1880s until the time of her death in 1893. The third daughter of Richard Creed of Cork, Ireland, little is known of Creed’s upbringing. Originally named Elizabeth, she was known professionally and privately as Lilla.
Creed arrived in Sydney from London in late 1886. In 1887 she began her involvement with the Art Society of NSW when she exhibited two works at their annual spring exhibition in Sydney. Over the next few years she was a regular exhibitor at the their annual exhibitions. Most of her listed exhibits were floral studies of mainly exotic flowers with prices ranging from two to twenty-one pounds. Other listed works include a landscape of Tahlee Pier, Port Stephens, and a decorative screen.
Creed married Harry W. Williamson in 1891 and lived at 'Carlton’, Sloane Street, Summer Hill, Sydney. Despite her marriage she continued to exhibit with the Art Society. She died in Sydney on 26 July 1893. As a tribute, three of her works were included in that year’s Art Society exhibition under the name of the late Mrs Williamson.
Writers:
Clifford-Smith, Silas
Date written:
2010
Last updated:
2011
*

Good information about Lilla’s family from The Parish Magazine - The Anglican Parish of Epping

http://www.eppinganglicans.org.au/ParishMagazine/201612&201701.ParishMagazine.pdf

Includes this work:



*

The National Library’s Trove is a good source. Use it to search for “Lilla Creed” (21 hits) and “Lilla P Creed” (only 3 hits)

https://trove.nla.gov.au/newspaper/result?q=%22lilla+creed%22


One ‘hit’ at
The Sydney Mail and New South Wales Advertiser (NSW : 1871 - 1912) Sat 25 Jun 1892 Page 1447

https://trove.nla.gov.au/newspaper/article/162178878?searchTerm=%22lilla%20creed%22&searchLimits=

Lilla Creed at her marriage is given away by Mr E L Montifiore, who was a well known and respected artist in Sydney.



*

https://trove.nla.gov.au/newspaper/article/76422894?searchTerm=%22lilla%20creed%22&searchLimits=

A review of the exhibition Women’s Work at the Art Society in The Dawn (Sydney, NSW : 1888 - 1905) Tue 5 Nov 1889 Page 6 includes:

Miss Flora Ross exhibited some good decorative work; a panel of rhododendrons and a table top, and Miss Ethel A. Stephens had no less than seven small pictures hung; these included two mountain landscapes, flower studies, etc. A study of "Plumbago," by
Sara E. Weiss ; "Peach Blossom" and "Rock Lillies," by Helen Willis; "Roses," by Mrs. G.
H. Halligan : "Roses." hy Mrs. J. A. Bennett, and "A study from Nature," by Lilla Creed completes the catalogue of works by women, the quality of which is a very gratifying evidence of the steadily perfecting skill of the women artists of our country.

*

https://trove.nla.gov.au/newspaper/article/236039575?searchTerm=%22lilla%20creed%22&searchLimits=

The Daily Telegraph (Sydney, NSW : 1883 - 1930) Sat 5 Aug 1893 Page 5


The circles of Australian art have sustained a severe loss in the recent death of Mrs. H. Weldon Williamson, better known, perhaps, as Lilla Creed, whose pictorial works always commanded attention whenever they were shown. At the Art Society exhibitions her paintings for some years past have been amongst the most admired on the walls : one of them, a largo floral panel, being chosen and purchased by the National Gallery trustees for the Australian Court in 1891. In addition to her individual productions Mrs. Williamson exerted a strong influence" for good over a number of art students, who will miss the wisdom of her counsel, as many an enthusiast will miss her brightly treated subjects from the future shows.

*

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Art on Viewview full entry

Reference: see Artonview, magazine of the national Gallery of Australia

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Art on View

Reference: see Artonview, magazine of the national Gallery of Australia

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Artonviewview full entry

Reference: see Artonview, magazine of the National Gallery of Australia [This has been partially indexed for the Scheding Index up to number 34. But definitely not numbers 39 + 43 + 59 + 63 onwards. All to be indexed]
Publishing details: National Gallery ofAustralia, 1995-2019 and to date
Ref: 1000

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Artonview

Reference: see Artonview, magazine of the National Gallery of Australia [This has been partially indexed for the Scheding Index up to number 34. But definitely not numbers 39 + 43 + 59 + 63 onwards. All to be indexed]

Publishing details: National Gallery ofAustralia, 1995-2019 and to date

Location: 1000

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Phillips Peterview full entry

Reference: Sydney Morning Herald article ‘Pop art icon seeks solace in bush’, 21 May, 2019, p20
Publishing details: Sydney Morning Herald article, 21 May, 2019, p20
Ref: 136

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Phillips Peter

Reference: Sydney Morning Herald article ‘Pop art icon seeks solace in bush’, 21 May, 2019, p20

Publishing details: Sydney Morning Herald article, 21 May, 2019, p20

Location: 136

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Bergin Kateview full entry

Reference: Tabletop Variations, exhibition catalogue, with invite and brief essay and 3 colour illustrations
Publishing details: Arthouse Gallery, Sydney, 2019, 4pp
Ref: 1000

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Bergin Kate

Reference: Tabletop Variations, exhibition catalogue, with invite and brief essay and 3 colour illustrations

Publishing details: Arthouse Gallery, Sydney, 2019, 4pp

Location: 1000

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Frazer Neilview full entry

Reference: Neil, Frazer - Liquid Light. Catalogue with 13 works all illustrated, biographical information.
Publishing details: Martin Brown Contempoary, 2019, pb, 36 pp, includes price list and invite
Ref: 1000

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Frazer Neil

Reference: Neil, Frazer - Liquid Light. Catalogue with 13 works all illustrated, biographical information.

Publishing details: Martin Brown Contempoary, 2019, pb, 36 pp, includes price list and invite

Location: 1000

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Hetzer William photographerview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
1.
William Hetzer (German, active 1850–1867).
[Rev. Thomas Henry Druitt And Family],| 1856.| Hand­coloured chromatype, signed and dated in pencil lower left, 26 x 36.4cm. Creases to old vertical fold and centre right, slight foxing and stains lower left
|
$22,000 This rare chromatype shows Thomas Druitt and his wife, Helena, and five of their eleven children. Provenance: Druitt family by descent. Born in Dorset, England, Thomas Henry Druitt (1817–1891) came to Sydney in 1847 with his wife Helena Hediveges Clementina. He taught at St James Grammar School in 1848 and was acting headmaster at The King’s School, Parramatta during 1854 and 1855. Druitt resigned his appointments at the end of 1856. At this time he and the family moved to Cooma, NSW, where he became a clergyman, and was responsible for the building of St Paul’s Church, as well as a parsonage
and centre. Original frame.and a school hall.
William Hetzer was one of the earliest and most significant photographers working in Sydney during the mid­19th century. He “arrived in Sydney from Germany in 1850 and opened a studio the same year at 15 Hunter Street, advertising calotype (salt prints) portraits and views. Hetzer specialised in paper photography, which was a novel process in the colony.” At this time daguerreotypes were more common. “In colonial photography, the term ‘chromatype’ referred to the process of creating direct positive prints
onto paper from glass collodion negatives made by using chromium salts as the sensitive ingredient. It produced a type of thin, matt olive­toned albumen or salted paper print which was usually subtly overpainted in oil or watercolour. Even when the colouring medium is delicately applied, in some cases the overpainting completely obliterates the photographic base and it can be hard to distinguish an image as a chromatype.” The process was invented in 1855 by Tasmanian photographer Frederick Frith. Only a fraction of chromatypes have survived. Ref: SLNSW, Portrait Detective, ADB, |The Courier| (Hobart), 24.10.1855.
:

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Hetzer William photographer

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
1.
William Hetzer (German, active 1850–1867).
[Rev. Thomas Henry Druitt And Family],| 1856.| Hand­coloured chromatype, signed and dated in pencil lower left, 26 x 36.4cm. Creases to old vertical fold and centre right, slight foxing and stains lower left
|
$22,000 This rare chromatype shows Thomas Druitt and his wife, Helena, and five of their eleven children. Provenance: Druitt family by descent. Born in Dorset, England, Thomas Henry Druitt (1817–1891) came to Sydney in 1847 with his wife Helena Hediveges Clementina. He taught at St James Grammar School in 1848 and was acting headmaster at The King’s School, Parramatta during 1854 and 1855. Druitt resigned his appointments at the end of 1856. At this time he and the family moved to Cooma, NSW, where he became a clergyman, and was responsible for the building of St Paul’s Church, as well as a parsonage
and centre. Original frame.and a school hall.
William Hetzer was one of the earliest and most significant photographers working in Sydney during the mid­19th century. He “arrived in Sydney from Germany in 1850 and opened a studio the same year at 15 Hunter Street, advertising calotype (salt prints) portraits and views. Hetzer specialised in paper photography, which was a novel process in the colony.” At this time daguerreotypes were more common. “In colonial photography, the term ‘chromatype’ referred to the process of creating direct positive prints
onto paper from glass collodion negatives made by using chromium salts as the sensitive ingredient. It produced a type of thin, matt olive­toned albumen or salted paper print which was usually subtly overpainted in oil or watercolour. Even when the colouring medium is delicately applied, in some cases the overpainting completely obliterates the photographic base and it can be hard to distinguish an image as a chromatype.” The process was invented in 1855 by Tasmanian photographer Frederick Frith. Only a fraction of chromatypes have survived. Ref: SLNSW, Portrait Detective, ADB, |The Courier| (Hobart), 24.10.1855.
:

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Nevin Thomas J and Samuel Cliffordview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Thomas J. Nevin (Aust., 1842–1923) & Samuel Clifford (Aust., 1827–1890).| Tasmanian Views,| c1860s/1870s.| Eleven (11) albumen paper photographs, one image watermarked “BFK Rives” [paper manufacturer] upper centre, 10.2 x 17.8cm (approx. each). Minor tears or missing portions to edges, slight crinkles.|
The group $6600| Views include (1) A large party at the Beacon Light, Mt Wellington, Hobart; (2) Salmon Ponds at Plenty, near New Norfolk; (3) Hobart Town from Lime Kiln Hill, panorama no. 1; (4) From the Franklin Wharf; (5) The Fern Tree Bower near Hobart Town [Cook’s Monument]; (6) Fern scenery near the Huon Road; (7) On the Huon Road [snapped tree]; (8) Sandy Bay and South Hobart from St George’s Hill showing Davey Street Mill; (9) Government House, Tasmania; (10) Mount Wellington from the White Rocks;
(11) [Ballroom, Government House, Tasmania].
Thomas J. Nevin and Samuel Clifford were Tasmanian photographers who shared a long friendship and photo­ graphed similar views of Tasmania, leading to issues of attribution. “It is likely that they printed these scenes for the local and interstate tourist trade, sharing their stock of negatives and prints from as early as 1865.” Ref: SLNSW, Libraries Tasmania, Douglas Stewart Fine Books (Melb.), thomasnevin.com.

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Nevin Thomas J and Samuel Clifford

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Thomas J. Nevin (Aust., 1842–1923) & Samuel Clifford (Aust., 1827–1890).| Tasmanian Views,| c1860s/1870s.| Eleven (11) albumen paper photographs, one image watermarked “BFK Rives” [paper manufacturer] upper centre, 10.2 x 17.8cm (approx. each). Minor tears or missing portions to edges, slight crinkles.|
The group $6600| Views include (1) A large party at the Beacon Light, Mt Wellington, Hobart; (2) Salmon Ponds at Plenty, near New Norfolk; (3) Hobart Town from Lime Kiln Hill, panorama no. 1; (4) From the Franklin Wharf; (5) The Fern Tree Bower near Hobart Town [Cook’s Monument]; (6) Fern scenery near the Huon Road; (7) On the Huon Road [snapped tree]; (8) Sandy Bay and South Hobart from St George’s Hill showing Davey Street Mill; (9) Government House, Tasmania; (10) Mount Wellington from the White Rocks;
(11) [Ballroom, Government House, Tasmania].
Thomas J. Nevin and Samuel Clifford were Tasmanian photographers who shared a long friendship and photo­ graphed similar views of Tasmania, leading to issues of attribution. “It is likely that they printed these scenes for the local and interstate tourist trade, sharing their stock of negatives and prints from as early as 1865.” Ref: SLNSW, Libraries Tasmania, Douglas Stewart Fine Books (Melb.), thomasnevin.com.

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Clifford Samuel and Thomas J Nevinview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Thomas J. Nevin (Aust., 1842–1923) & Samuel Clifford (Aust., 1827–1890).| Tasmanian Views,| c1860s/1870s.| Eleven (11) albumen paper photographs, one image watermarked “BFK Rives” [paper manufacturer] upper centre, 10.2 x 17.8cm (approx. each). Minor tears or missing portions to edges, slight crinkles.|
The group $6600| Views include (1) A large party at the Beacon Light, Mt Wellington, Hobart; (2) Salmon Ponds at Plenty, near New Norfolk; (3) Hobart Town from Lime Kiln Hill, panorama no. 1; (4) From the Franklin Wharf; (5) The Fern Tree Bower near Hobart Town [Cook’s Monument]; (6) Fern scenery near the Huon Road; (7) On the Huon Road [snapped tree]; (8) Sandy Bay and South Hobart from St George’s Hill showing Davey Street Mill; (9) Government House, Tasmania; (10) Mount Wellington from the White Rocks;
(11) [Ballroom, Government House, Tasmania].
Thomas J. Nevin and Samuel Clifford were Tasmanian photographers who shared a long friendship and photo­ graphed similar views of Tasmania, leading to issues of attribution. “It is likely that they printed these scenes for the local and interstate tourist trade, sharing their stock of negatives and prints from as early as 1865.” Ref: SLNSW, Libraries Tasmania, Douglas Stewart Fine Books (Melb.), thomasnevin.com.

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Clifford Samuel and Thomas J Nevin

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Thomas J. Nevin (Aust., 1842–1923) & Samuel Clifford (Aust., 1827–1890).| Tasmanian Views,| c1860s/1870s.| Eleven (11) albumen paper photographs, one image watermarked “BFK Rives” [paper manufacturer] upper centre, 10.2 x 17.8cm (approx. each). Minor tears or missing portions to edges, slight crinkles.|
The group $6600| Views include (1) A large party at the Beacon Light, Mt Wellington, Hobart; (2) Salmon Ponds at Plenty, near New Norfolk; (3) Hobart Town from Lime Kiln Hill, panorama no. 1; (4) From the Franklin Wharf; (5) The Fern Tree Bower near Hobart Town [Cook’s Monument]; (6) Fern scenery near the Huon Road; (7) On the Huon Road [snapped tree]; (8) Sandy Bay and South Hobart from St George’s Hill showing Davey Street Mill; (9) Government House, Tasmania; (10) Mount Wellington from the White Rocks;
(11) [Ballroom, Government House, Tasmania].
Thomas J. Nevin and Samuel Clifford were Tasmanian photographers who shared a long friendship and photo­ graphed similar views of Tasmania, leading to issues of attribution. “It is likely that they printed these scenes for the local and interstate tourist trade, sharing their stock of negatives and prints from as early as 1865.” Ref: SLNSW, Libraries Tasmania, Douglas Stewart Fine Books (Melb.), thomasnevin.com.

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Bardwell William photographerview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

William Bardwell (Aust., 1836–1929).| [The City Of Ballarat, NSW, From The Town Hall],| 1872.| Albumen paper photograph, eleven­panel panorama, 16.5 x 204.5cm.
Repainted portion to one image, repaired minor tears to edges. Linen-backed. $9900
This panorama shows Ballarat from the east, moving south along Armstrong Street. Businesses include Holmes’s Bank Hotel, Edinburgh Castle Hotel, Wests Hotel, Town Hall Hotel, Stork Hotel, and Ballarat Auction Rooms, and ends on north­east Sturt Street. Individual panels held in SLV, Fed. Uni. (Ballarat). “William Bardwell was a professional photographer with a successful business in Ballarat and Melbourne...It seems Bardwell was fond of using unusual vantage points: in 1863, |The Argus| reported that he had photographed the ceremony of the laying of the foundation stone of the Burke and Wills memorial in Sturt Street from the roof of the Ballarat Post Office.” In 1873 he showed a “photographic panorama of the city of Ballarat” in the Victorian section of the London International Exhibition, presumably this very view. Ref: AGNSW.

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Bardwell William photographer

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

William Bardwell (Aust., 1836–1929).| [The City Of Ballarat, NSW, From The Town Hall],| 1872.| Albumen paper photograph, eleven­panel panorama, 16.5 x 204.5cm.
Repainted portion to one image, repaired minor tears to edges. Linen-backed. $9900
This panorama shows Ballarat from the east, moving south along Armstrong Street. Businesses include Holmes’s Bank Hotel, Edinburgh Castle Hotel, Wests Hotel, Town Hall Hotel, Stork Hotel, and Ballarat Auction Rooms, and ends on north­east Sturt Street. Individual panels held in SLV, Fed. Uni. (Ballarat). “William Bardwell was a professional photographer with a successful business in Ballarat and Melbourne...It seems Bardwell was fond of using unusual vantage points: in 1863, |The Argus| reported that he had photographed the ceremony of the laying of the foundation stone of the Burke and Wills memorial in Sturt Street from the roof of the Ballarat Post Office.” In 1873 he showed a “photographic panorama of the city of Ballarat” in the Victorian section of the London International Exhibition, presumably this very view. Ref: AGNSW.

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Melbourne Stereoscopic Co.view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

21.| Melbourne Stereoscopic Co. (Aust., active 1860–1900).| Melbourne Street Views,| c1891.| Four albumen paper photographs, stereo card format, one annotated in ink, letterpress studio line on backing on all four, and studio label attached to three backings verso, 7.7 x 13.7cm (approx. each). Minor chips or creases to edges, slight foxing,
laid down on original backing.

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Melbourne Stereoscopic Co.

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

21.| Melbourne Stereoscopic Co. (Aust., active 1860–1900).| Melbourne Street Views,| c1891.| Four albumen paper photographs, stereo card format, one annotated in ink, letterpress studio line on backing on all four, and studio label attached to three backings verso, 7.7 x 13.7cm (approx. each). Minor chips or creases to edges, slight foxing,
laid down on original backing.

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Adams Peter b1943 photographerview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Sabastiao Salgardo, Paris,| 1987.| Vintage silver gelatin photograph, titled, dated and signed in ink in lower margin, annotated “neg. 1­2” in pencil
Similar image illustrated in Who shot that? A few of the world’s legendary photographers,| 2005, p95, with
the date “1989.”

“For the past 35 years Peter Adams has been making portraits and
recording conversations with great photographers around the world. The collection, which now numbers around 500 photographers, is due to be published towards the end of 2019 in his book |A Few of the Legends.| Peter won the Hasselblad Masters twice, and has twice been voted Australian Professional Photographer of the Year. He is a Fellow and double Master of the AIPP [Australian Institute of Professional Photography].” Ref: The Portrait Conference.

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Adams Peter b1943 photographer

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Sabastiao Salgardo, Paris,| 1987.| Vintage silver gelatin photograph, titled, dated and signed in ink in lower margin, annotated “neg. 1­2” in pencil
Similar image illustrated in Who shot that? A few of the world’s legendary photographers,| 2005, p95, with
the date “1989.”

“For the past 35 years Peter Adams has been making portraits and
recording conversations with great photographers around the world. The collection, which now numbers around 500 photographers, is due to be published towards the end of 2019 in his book |A Few of the Legends.| Peter won the Hasselblad Masters twice, and has twice been voted Australian Professional Photographer of the Year. He is a Fellow and double Master of the AIPP [Australian Institute of Professional Photography].” Ref: The Portrait Conference.

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Who shot that? view full entry

Reference: Who shot that? A few of the world’s legendary photographers
Publishing details: 2005,
Ref: 1000

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Who shot that?

Reference: Who shot that? A few of the world’s legendary photographers

Publishing details: 2005,

Location: 1000

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Photographyview full entry

Reference: see Who shot that? A few of the world’s legendary photographers. At least one Australian photographer, Peter Adams, is included.
Publishing details: 2005,

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Photography

Reference: see Who shot that? A few of the world’s legendary photographers. At least one Australian photographer, Peter Adams, is included.

Publishing details: 2005,

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Barrett Gregview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Greg Barrett (Aust., b.1943).|
Timothy Harbour,| 1998.| Silver gelatin photograph, titled, signed and dated in pencil verso, 32.5 x 27cm. Slight retouching to image upper left.| $1650| Illustrated in Barrett, |Tutu,| 1999, p17.
“One of the most sought­after fashion photographers of the late ‘70s, [Greg Barrett’s] work appeared in top magazines...Since 1984, [Barrett] has photographed dancers from Australia’s premier dance companies, bringing to his photographs of dancers the same discipline as his subjects do to their art. Using few props and costumes, he relies very much on his relationship with each dancer to push the expressive boundaries of the human body. The results
of this artistic collaboration are photographs of extraordinary beauty, spontaneity and wit.” Ref: Daryl Hewson Collection.

“Greg Barrett became a professional photographer at the age of 33 and since then he has worked extensively in film direction, fashion photography, advertising and portraiture. His work forms part of the permanent collection of the National Library in Canberra and his photography is widely collected and is seen as a reference point for the possibilities of what the human body
can achieve.” Ref: M. Throsby (ABC website, 16.6.2014).

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Barrett Greg

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Greg Barrett (Aust., b.1943).|
Timothy Harbour,| 1998.| Silver gelatin photograph, titled, signed and dated in pencil verso, 32.5 x 27cm. Slight retouching to image upper left.| $1650| Illustrated in Barrett, |Tutu,| 1999, p17.
“One of the most sought­after fashion photographers of the late ‘70s, [Greg Barrett’s] work appeared in top magazines...Since 1984, [Barrett] has photographed dancers from Australia’s premier dance companies, bringing to his photographs of dancers the same discipline as his subjects do to their art. Using few props and costumes, he relies very much on his relationship with each dancer to push the expressive boundaries of the human body. The results
of this artistic collaboration are photographs of extraordinary beauty, spontaneity and wit.” Ref: Daryl Hewson Collection.

“Greg Barrett became a professional photographer at the age of 33 and since then he has worked extensively in film direction, fashion photography, advertising and portraiture. His work forms part of the permanent collection of the National Library in Canberra and his photography is widely collected and is seen as a reference point for the possibilities of what the human body
can achieve.” Ref: M. Throsby (ABC website, 16.6.2014).

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Bishop Mervynview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

39.| Mervyn Bishop (Aust., b.1945).| Art And Photography Cadets With Model In Studio,| 1967/ 1990.| Silver gelatin photograph, titled, dated and signed in pencil verso, 28.2 x 40.3cm. Minor creases, crinkles, chips to edges.| $4400|
Title continues “at |Sydney Morning Herald,| Broadway, Sydney, NSW.” Illustrated in Bishop, |In dreams: thirty years of photography 1960–1990,| p21. Held in AGNSW with variant title.
“Mervyn Bishop is an Australian news and documentary photographer. Joining |The Sydney Morning Herald| as a cadet about 1962, he was the first Aboriginal Australian to work on a metropolitan daily newspaper and one of the first Aboriginal Australians to become a professional photographer. In 1971, four years after completing his cadetship, he was named Australian Press Photographer of the Year. He has continued to work as a photographer and lecturer. Bishop is a
42.| Mervyn Bishop (Aust., b.1945).| Women Attend Home Management Course At Yuendumu, NT,| 1974/ 1990.| Silver gelatin photograph, titled, dated and signed in pencil verso, 36.9 x 27cm. Slight foxing, handling creases.|
$4400| Illustrated in Bishop, |In dreams: thirty years of photography
1960–1990,| p60. Held in AGNSW.
member of the Murri people.” Ref: Wiki.

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Bishop Mervyn

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

39.| Mervyn Bishop (Aust., b.1945).| Art And Photography Cadets With Model In Studio,| 1967/ 1990.| Silver gelatin photograph, titled, dated and signed in pencil verso, 28.2 x 40.3cm. Minor creases, crinkles, chips to edges.| $4400|
Title continues “at |Sydney Morning Herald,| Broadway, Sydney, NSW.” Illustrated in Bishop, |In dreams: thirty years of photography 1960–1990,| p21. Held in AGNSW with variant title.
“Mervyn Bishop is an Australian news and documentary photographer. Joining |The Sydney Morning Herald| as a cadet about 1962, he was the first Aboriginal Australian to work on a metropolitan daily newspaper and one of the first Aboriginal Australians to become a professional photographer. In 1971, four years after completing his cadetship, he was named Australian Press Photographer of the Year. He has continued to work as a photographer and lecturer. Bishop is a
42.| Mervyn Bishop (Aust., b.1945).| Women Attend Home Management Course At Yuendumu, NT,| 1974/ 1990.| Silver gelatin photograph, titled, dated and signed in pencil verso, 36.9 x 27cm. Slight foxing, handling creases.|
$4400| Illustrated in Bishop, |In dreams: thirty years of photography
1960–1990,| p60. Held in AGNSW.
member of the Murri people.” Ref: Wiki.

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Bostock Cecilview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Cecil W. Bostock (Aust., 1884–1939).| Day Breaks—Cold, Shrieking—Bloody,|
44.| 1918/1919.| Vintage silver gelatin photograph, annotated “London Salon”, dated “1919”, signed and titled in pencil on backing below image, 13 x 20.6cm. Slight silvering, laid down on original backing with foxing. Framed.|

Bostock served as a gunner during WWI, and this is his only known photograph from the war. Held in AGNSW with date “1918” and the comment “Soldier snapshots from the First World War were not uncommon...Bostock’s evocative image stands clearly apart from these, as well as from the more
formal and staged work by official war photographer Frank Hurley.”
In 1921 Bostock held an exhibition consisting of 101 photographs at the Kodak Salon in Sydney, which included this image, as noted in a review in |The Sydney Morning Herald.| “Here is shown an 18­pounder at the moment of recoil, with crouching ‘tin­hatted’ gun crew, a white pall of smoke drifting from the muzzle, under a stormy sky. The picture seems to personify the spirit of war, and was
accorded a flattering reception when hung in the London Salon of 1919.” Ref: |SMH,| 17.11.1921

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Bostock Cecil

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Cecil W. Bostock (Aust., 1884–1939).| Day Breaks—Cold, Shrieking—Bloody,|
44.| 1918/1919.| Vintage silver gelatin photograph, annotated “London Salon”, dated “1919”, signed and titled in pencil on backing below image, 13 x 20.6cm. Slight silvering, laid down on original backing with foxing. Framed.|

Bostock served as a gunner during WWI, and this is his only known photograph from the war. Held in AGNSW with date “1918” and the comment “Soldier snapshots from the First World War were not uncommon...Bostock’s evocative image stands clearly apart from these, as well as from the more
formal and staged work by official war photographer Frank Hurley.”
In 1921 Bostock held an exhibition consisting of 101 photographs at the Kodak Salon in Sydney, which included this image, as noted in a review in |The Sydney Morning Herald.| “Here is shown an 18­pounder at the moment of recoil, with crouching ‘tin­hatted’ gun crew, a white pall of smoke drifting from the muzzle, under a stormy sky. The picture seems to personify the spirit of war, and was
accorded a flattering reception when hung in the London Salon of 1919.” Ref: |SMH,| 17.11.1921

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Caire Nicholasview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

45.| Nicholas Caire (Aust., 1837–1918).| [The Great Ocean Road, Port Campbell And Peterborough, Victoria],| c1900–1905.| Ten printing­out paper photographs, postcard format, each captioned with “N.J. Caire, photo” studio line in negative lower left or right, one card inscribed and dated “14.9.01” in pencil verso, 8.5 x 13.8cm (approx. each). Minor creases or indentations.|
The group $5500 Nine of the 10 captions include “Port Campbell” and read (1) Loch and Gorge; (2) Bathing Beach; (3) Island Bay near Loch and Gorge; (4) Iron Clad Rocks, Gibson’s Beach; (5) The Beacon Steps; (6) Glenample Rock, Gibson’s Beach; (7) The Twelve Apostles, Gibson’s Beach; (8) Broken Head,
Peterborough; (9) Island Archway near Loch and Gorge; and (10) Castle Rock, Gibson’s Beach. Inscription includes “Peterboro [sic] House Hotel. Dear children, we are safe after a rough ride through the forest – roads very bad. Splendid weather here since we came, not much fishing yet, either in river or bay.” Completed in 1932, the Great Ocean Road (tentatively known as the South Coast Road) was built as a memorial to Victoria’s WWI servicemen and women. Ref: Dept of Environment & Energy, Wiki.

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Caire Nicholas

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

45.| Nicholas Caire (Aust., 1837–1918).| [The Great Ocean Road, Port Campbell And Peterborough, Victoria],| c1900–1905.| Ten printing­out paper photographs, postcard format, each captioned with “N.J. Caire, photo” studio line in negative lower left or right, one card inscribed and dated “14.9.01” in pencil verso, 8.5 x 13.8cm (approx. each). Minor creases or indentations.|
The group $5500 Nine of the 10 captions include “Port Campbell” and read (1) Loch and Gorge; (2) Bathing Beach; (3) Island Bay near Loch and Gorge; (4) Iron Clad Rocks, Gibson’s Beach; (5) The Beacon Steps; (6) Glenample Rock, Gibson’s Beach; (7) The Twelve Apostles, Gibson’s Beach; (8) Broken Head,
Peterborough; (9) Island Archway near Loch and Gorge; and (10) Castle Rock, Gibson’s Beach. Inscription includes “Peterboro [sic] House Hotel. Dear children, we are safe after a rough ride through the forest – roads very bad. Splendid weather here since we came, not much fishing yet, either in river or bay.” Completed in 1932, the Great Ocean Road (tentatively known as the South Coast Road) was built as a memorial to Victoria’s WWI servicemen and women. Ref: Dept of Environment & Energy, Wiki.

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Cotter Lizview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
55.| LizCotter(Aust.,b.1965).| EastTimor/TimorLestePort,| 1999/2017.| Silvergelatin
photograph, numbered “18”, signed, titled and dated in pencil verso, 18.9 x 28.3cm. |

“Not long after violence and devastation had torn East Timor apart, I was commissioned by UNHCR as a photographer, to follow refugees who had fled to Australia and then follow a particular family group back to their home in Dili. Over the next two and a half years I returned several times to Timor Leste as a photographer, cultural researcher and public information officer for UNHCR and others. The generosity of the participants and the time taken enabled unique insights and perspectives as well as documenting the regeneration of a war­torn country and new nation slowly burgeoning.” Ref: Liz Cotter.

and

“The aim of ‘Our City, Our Games’ was to observe and record Sydney’s transformation to an Olympic City. My proposal to document the city and its people during the brief period of intense world focus was accepted by the city of Sydney. Working with historian Michelle Arrow, I photographed people using the city in these extraordinary circumstances, fascinated by the humorous, unusual and inventive things that people did at this time.” Ref: Liz Cotter.

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Cotter Liz

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
55.| LizCotter(Aust.,b.1965).| EastTimor/TimorLestePort,| 1999/2017.| Silvergelatin
photograph, numbered “18”, signed, titled and dated in pencil verso, 18.9 x 28.3cm. |

“Not long after violence and devastation had torn East Timor apart, I was commissioned by UNHCR as a photographer, to follow refugees who had fled to Australia and then follow a particular family group back to their home in Dili. Over the next two and a half years I returned several times to Timor Leste as a photographer, cultural researcher and public information officer for UNHCR and others. The generosity of the participants and the time taken enabled unique insights and perspectives as well as documenting the regeneration of a war­torn country and new nation slowly burgeoning.” Ref: Liz Cotter.

and

“The aim of ‘Our City, Our Games’ was to observe and record Sydney’s transformation to an Olympic City. My proposal to document the city and its people during the brief period of intense world focus was accepted by the city of Sydney. Working with historian Michelle Arrow, I photographed people using the city in these extraordinary circumstances, fascinated by the humorous, unusual and inventive things that people did at this time.” Ref: Liz Cotter.

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Dundas Kerryview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

62.| Kerry Dundas (Aust., 1931–2010).| Godfrey Miller In His Studio, Young Street, Sydney,| 1950/later printing.| Silver gelatin photograph, signed in pencil over a faint ink signature on image lower right, 25.1 x 28cm. |
$2200| “Godfrey Miller (1893–1964) arrived in Australia from his native New Zealand in 1919. Serving as a light horseman in Egypt and Gallipoli, he was badly wounded. After his convalescence he continued his studies as an architect. From 1929 to 1931 he studied at the Slade School in London and during the 1930s he travelled extensively in Europe. In 1939 he settled in Sydney. From 1948 until his death Miller was a part­time teacher at East Sydney Technical College.” His artwork often showed his “enduring interest in molecular science and
mathematics.” Ref: NPG, AGNSW.

“Kerry Dundas, son of artist Douglas Dundas, gained an interest in photography as a student at Sydney Grammar School. After leaving school he worked for various studios, including, in the 1950s, Max Dupain’s. In the 1960s Dundas worked in the UK as a photojournalist, drawn to subjects of
67.| Max Dupain (Aust., 1911–1992).|
1980s.| Silver gelatin photograph, signed in pencil lower right, 45.5 x 37.7cm. Minor developing flaws. Framed.| $5500|
Dupain was inspired to experiment with different printing tech­ niques, including solarisation, by American photographer Man Ray (1890–1976). In its 2004 exhibition |Max Dupain: Dupain’s work in the context of Man Ray’s influence,| the Art Gallery of NSW stated “Max Dupain, one of Australia’s great modernist photographers, placed Man Ray’s importance for photography alongside Cézanne’s for painting. Writing for |The Home| magazine in 1935, Dupain said: ‘He is alone. A pioneer of the 20th century who has crystallised a new experience in light and chemistry.’” Ref: AGNSW.
68.| Max Dupain (Aust., 1911–1992).| Effect Of Movement,| c1930s/later print­
silvering. Framed.
$6600| Annotation reads “Dancer with electric torch bulbs attached to finger tips. Several flashes were made
during exposure to catch figure.” Held in AGNSW with title “Dancer dancing” and date “1940s.”
13
[Solarised Candle With Reflection],| c1930s/
social upheaval such as the Notting Hill Gate riots. He returned to Sydney in 1967, and published a book of photographs of New Guinean subjects in 1969. In 1972 he was appointed the photographer for the Art Gallery of NSW. Over the course of his career he photographed many artists.” Ref: NPG.

×

Dundas Kerry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

62.| Kerry Dundas (Aust., 1931–2010).| Godfrey Miller In His Studio, Young Street, Sydney,| 1950/later printing.| Silver gelatin photograph, signed in pencil over a faint ink signature on image lower right, 25.1 x 28cm. |
$2200| “Godfrey Miller (1893–1964) arrived in Australia from his native New Zealand in 1919. Serving as a light horseman in Egypt and Gallipoli, he was badly wounded. After his convalescence he continued his studies as an architect. From 1929 to 1931 he studied at the Slade School in London and during the 1930s he travelled extensively in Europe. In 1939 he settled in Sydney. From 1948 until his death Miller was a part­time teacher at East Sydney Technical College.” His artwork often showed his “enduring interest in molecular science and
mathematics.” Ref: NPG, AGNSW.

“Kerry Dundas, son of artist Douglas Dundas, gained an interest in photography as a student at Sydney Grammar School. After leaving school he worked for various studios, including, in the 1950s, Max Dupain’s. In the 1960s Dundas worked in the UK as a photojournalist, drawn to subjects of
67.| Max Dupain (Aust., 1911–1992).|
1980s.| Silver gelatin photograph, signed in pencil lower right, 45.5 x 37.7cm. Minor developing flaws. Framed.| $5500|
Dupain was inspired to experiment with different printing tech­ niques, including solarisation, by American photographer Man Ray (1890–1976). In its 2004 exhibition |Max Dupain: Dupain’s work in the context of Man Ray’s influence,| the Art Gallery of NSW stated “Max Dupain, one of Australia’s great modernist photographers, placed Man Ray’s importance for photography alongside Cézanne’s for painting. Writing for |The Home| magazine in 1935, Dupain said: ‘He is alone. A pioneer of the 20th century who has crystallised a new experience in light and chemistry.’” Ref: AGNSW.
68.| Max Dupain (Aust., 1911–1992).| Effect Of Movement,| c1930s/later print­
silvering. Framed.
$6600| Annotation reads “Dancer with electric torch bulbs attached to finger tips. Several flashes were made
during exposure to catch figure.” Held in AGNSW with title “Dancer dancing” and date “1940s.”
13
[Solarised Candle With Reflection],| c1930s/
social upheaval such as the Notting Hill Gate riots. He returned to Sydney in 1967, and published a book of photographs of New Guinean subjects in 1969. In 1972 he was appointed the photographer for the Art Gallery of NSW. Over the course of his career he photographed many artists.” Ref: NPG.

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Miller Godfrey portrait ofview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

62.| Kerry Dundas (Aust., 1931–2010).| Godfrey Miller In His Studio, Young Street, Sydney,| 1950/later printing.| Silver gelatin photograph, signed in pencil over a faint ink signature on image lower right, 25.1 x 28cm. |
$2200| “Godfrey Miller (1893–1964) arrived in Australia from his native New Zealand in 1919. Serving as a light horseman in Egypt and Gallipoli, he was badly wounded. After his convalescence he continued his studies as an architect. From 1929 to 1931 he studied at the Slade School in London and during the 1930s he travelled extensively in Europe. In 1939 he settled in Sydney. From 1948 until his death Miller was a part­time teacher at East Sydney Technical College.” His artwork often showed his “enduring interest in molecular science and
mathematics.” Ref: NPG, AGNSW.

×

Miller Godfrey portrait of

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

62.| Kerry Dundas (Aust., 1931–2010).| Godfrey Miller In His Studio, Young Street, Sydney,| 1950/later printing.| Silver gelatin photograph, signed in pencil over a faint ink signature on image lower right, 25.1 x 28cm. |
$2200| “Godfrey Miller (1893–1964) arrived in Australia from his native New Zealand in 1919. Serving as a light horseman in Egypt and Gallipoli, he was badly wounded. After his convalescence he continued his studies as an architect. From 1929 to 1931 he studied at the Slade School in London and during the 1930s he travelled extensively in Europe. In 1939 he settled in Sydney. From 1948 until his death Miller was a part­time teacher at East Sydney Technical College.” His artwork often showed his “enduring interest in molecular science and
mathematics.” Ref: NPG, AGNSW.

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Ellis Rennieview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

74.| Rennie Ellis (Australian, 1940–2003).| Sir Robert Menzies At The Funeral Of Arthur Calwell,| 1973.| Vintage silver gelatin photograph, captioned “Bob Menzies”, titled, dated “July 1973” and signed by photographer’s wife Kerry Oldfield Ellis in ink in authentication stamp verso, 16.9 x 24.2cm. Minor crinkles, pinholes to edges not
affecting image.

×

Ellis Rennie

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

74.| Rennie Ellis (Australian, 1940–2003).| Sir Robert Menzies At The Funeral Of Arthur Calwell,| 1973.| Vintage silver gelatin photograph, captioned “Bob Menzies”, titled, dated “July 1973” and signed by photographer’s wife Kerry Oldfield Ellis in ink in authentication stamp verso, 16.9 x 24.2cm. Minor crinkles, pinholes to edges not
affecting image.

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Yang William portrait of by Joyce Evansview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

“William Yang [Aust., b.1943] belongs to a generation of artists who used photography to document alternative lifestyles and celebrate social diversity during the latter decades of the 20th century...Yang is the type of social documentary photographer who carries a camera around his neck, ready to capture things with a certain immediacy, as they happen around him.” Ref: MCA.

×

Yang William portrait of by Joyce Evans

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

“William Yang [Aust., b.1943] belongs to a generation of artists who used photography to document alternative lifestyles and celebrate social diversity during the latter decades of the 20th century...Yang is the type of social documentary photographer who carries a camera around his neck, ready to capture things with a certain immediacy, as they happen around him.” Ref: MCA.

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Evans Joyceview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Joyce Evans (Aust., b.1929).|
Vintage silver gelatin photograph, titled, dated
79.|
1996.|
and signed in ink in lower margin, titled, signed “Joyce Evans, photo” and annotated “vintage print, 96099­ 27A” in pencil verso, 35.4 x 25.5cm. Minor creases.

“William Yang [Aust., b.1943] belongs to a generation of artists who used photography to document alternative lifestyles and celebrate social diversity during the latter decades of the 20th century...Yang is the type of social documentary photographer who carries a camera around his neck, ready to capture things with a certain immediacy, as they happen around him.” Ref: MCA.

×

Evans Joyce

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Joyce Evans (Aust., b.1929).|
Vintage silver gelatin photograph, titled, dated
79.|
1996.|
and signed in ink in lower margin, titled, signed “Joyce Evans, photo” and annotated “vintage print, 96099­ 27A” in pencil verso, 35.4 x 25.5cm. Minor creases.

“William Yang [Aust., b.1943] belongs to a generation of artists who used photography to document alternative lifestyles and celebrate social diversity during the latter decades of the 20th century...Yang is the type of social documentary photographer who carries a camera around his neck, ready to capture things with a certain immediacy, as they happen around him.” Ref: MCA.

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Fieldhouse Simonview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’


Simon Fieldhouse was a practicing solicitor until 1988, before taking up art full­time. Ref: simonfieldhouse.com.
SimonFieldhouse(Aust.,b.1956).| PhilipAlexander,| 1986.| Collage of 27 C­type photographs, titled, dated “24th July 1986” and signed in ink on backing below image, 76 x 45cm. Some photographs lifting at edges, on original backing. Framed.|
This collage is in the style of artist David Hockney.

×

Fieldhouse Simon

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’


Simon Fieldhouse was a practicing solicitor until 1988, before taking up art full­time. Ref: simonfieldhouse.com.
SimonFieldhouse(Aust.,b.1956).| PhilipAlexander,| 1986.| Collage of 27 C­type photographs, titled, dated “24th July 1986” and signed in ink on backing below image, 76 x 45cm. Some photographs lifting at edges, on original backing. Framed.|
This collage is in the style of artist David Hockney.

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Gemes Junoview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

84.| Juno Gemes (Aust., b.1944).| Oodgeroo Noonuccal [Kath Walker],| 1985/2003.| Colour digital print, photogra­ pher’s blindstamp in lower margin, titled, captioned, dated and signed in pencil verso, 39 x 26.2cm.|
$2950| Caption reads “At the only exhibition of her fabrics at Ulli Beyer [sic].” |Quandamooka, the art of Kath Walker| by Beier was published in
1985.
Kath Walker (1920–1993), also known as Oodgeroo Noonuccal, “was an Aboriginal activist, poet, writer [and artist]. Throughout her life, she aimed to promote cultural pride amongst Aboriginal people through her writing, which she described as ‘sloganistic, civil rightish, plain and simple’...[In 1988] she reassumed her tribal name in protest at the Bicentennial celebrations.” Ref: NPG, Trove.

×

Gemes Juno

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

84.| Juno Gemes (Aust., b.1944).| Oodgeroo Noonuccal [Kath Walker],| 1985/2003.| Colour digital print, photogra­ pher’s blindstamp in lower margin, titled, captioned, dated and signed in pencil verso, 39 x 26.2cm.|
$2950| Caption reads “At the only exhibition of her fabrics at Ulli Beyer [sic].” |Quandamooka, the art of Kath Walker| by Beier was published in
1985.
Kath Walker (1920–1993), also known as Oodgeroo Noonuccal, “was an Aboriginal activist, poet, writer [and artist]. Throughout her life, she aimed to promote cultural pride amongst Aboriginal people through her writing, which she described as ‘sloganistic, civil rightish, plain and simple’...[In 1988] she reassumed her tribal name in protest at the Bicentennial celebrations.” Ref: NPG, Trove.

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Hilder Brett b1945view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
Brett Hilder, Roses For Tina,| 1996/2002.| Silver gelatin photograph, signed in ink in lower margin, titled, dated and annotated in pencil verso, 17.7 x 26.5cm. Crinkles.|
Annotation reads “Print made in Hill End, November 2002.”
$1650|
“Brett Hilder is an Australian photographer, [writer], filmmaker and inveterate traveller whose work encompasses fashion, portraiture and landscape. In the 1960s and 70s, his distinctive fashion
photography, portraying a sense of mystery and romance, appeared in magazines including Vogue
In the mid 1970s he lived and worked in London and Paris. On his return to Australia he extended his work into theatre and film.” In 2002 he produced a film on the life of activist Mexican/ Italian photographer Tina Modotti. Ref: Murdoch Books.

|
|
Brett Hilder (Australian, b.1945).|
86.|
Roses For Tina,| 1996/2002.| Silver gelatin photograph, signed in ink in lower margin, titled, dated and annotated in pencil verso, 17.7 x 26.5cm. Crinkles.|

×

Hilder Brett b1945

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
Brett Hilder, Roses For Tina,| 1996/2002.| Silver gelatin photograph, signed in ink in lower margin, titled, dated and annotated in pencil verso, 17.7 x 26.5cm. Crinkles.|
Annotation reads “Print made in Hill End, November 2002.”
$1650|
“Brett Hilder is an Australian photographer, [writer], filmmaker and inveterate traveller whose work encompasses fashion, portraiture and landscape. In the 1960s and 70s, his distinctive fashion
photography, portraying a sense of mystery and romance, appeared in magazines including Vogue
In the mid 1970s he lived and worked in London and Paris. On his return to Australia he extended his work into theatre and film.” In 2002 he produced a film on the life of activist Mexican/ Italian photographer Tina Modotti. Ref: Murdoch Books.

|
|
Brett Hilder (Australian, b.1945).|
86.|
Roses For Tina,| 1996/2002.| Silver gelatin photograph, signed in ink in lower margin, titled, dated and annotated in pencil verso, 17.7 x 26.5cm. Crinkles.|

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Hoppe E Oview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
E.O. Hoppé (Brit., 1878–1972).| Arc House Cottage, Devonshire [UK],| c1926.| Vintage silver gelatin photograph, titled in ink in two hands, various copyright and publication stamps verso, 23.4 x 19.4cm. Slight silvering, chips to edges and faint stain to upper right corner.| $2200|
Stamps include “Copyright, E.O. Hoppé, London, please ack­ nowledge” and “The Mansell Collection, 42 Linden Gardens, London W2. On loan.”
In 1954 Hoppé sold his body of photographic work “to a commercial London picture archive, the Mansell Collection. Hoppé’s work was interfiled by subject with millions of other photographs...Almost all of Hoppé’s photographic work—that which gained him the reputation as Britain’s most influential international photographer between 1907 and 1939—was accidentally obscured from photo­historians and from photo­
history itself. It remained in the collection for over thirty years after Hoppé’s death and was not fully accessible to the public until the collection closed down and was acquired by new owners in the United States.” Ref: Wiki.

×

Hoppe E O

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
E.O. Hoppé (Brit., 1878–1972).| Arc House Cottage, Devonshire [UK],| c1926.| Vintage silver gelatin photograph, titled in ink in two hands, various copyright and publication stamps verso, 23.4 x 19.4cm. Slight silvering, chips to edges and faint stain to upper right corner.| $2200|
Stamps include “Copyright, E.O. Hoppé, London, please ack­ nowledge” and “The Mansell Collection, 42 Linden Gardens, London W2. On loan.”
In 1954 Hoppé sold his body of photographic work “to a commercial London picture archive, the Mansell Collection. Hoppé’s work was interfiled by subject with millions of other photographs...Almost all of Hoppé’s photographic work—that which gained him the reputation as Britain’s most influential international photographer between 1907 and 1939—was accidentally obscured from photo­historians and from photo­
history itself. It remained in the collection for over thirty years after Hoppé’s death and was not fully accessible to the public until the collection closed down and was acquired by new owners in the United States.” Ref: Wiki.

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Heimerman Billview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Bill Heimerman (Aust.,1950–2017) taught alongside Carol Jerrems and their friend Ian Lobb at Coburg Technical College, Victoria. Lobb and Heimerman were also co­directors of The Photographers Gallery in Melbourne from the mid­1970s. Ref:
SMH,
30.1.2018.

×

Heimerman Bill

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Bill Heimerman (Aust.,1950–2017) taught alongside Carol Jerrems and their friend Ian Lobb at Coburg Technical College, Victoria. Lobb and Heimerman were also co­directors of The Photographers Gallery in Melbourne from the mid­1970s. Ref:
SMH,
30.1.2018.

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Jerrems Carol Vale Streetview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

93.| Carol Jerrems (Australian, 1949–1980).| Vale Street [Melbourne],| 1975.| Vintage silver gelatin photograph, signed (twice), photographer’s address “15 Park Cres., Fairfield, Vic.”, titled and dated in pink ink, and signed (twice) in pencil in “Australian Centre for Photography” copyright stamp verso, 19.2 x 24.6cm. Slight scuffing, handling creases.|
$POA| Stamp reads “Photograph by Carol Jerrems. The Australian Centre for Photography Ltd, 76A Paddington St, Paddington 2021 NSW Aust. With permission this photograph may be
reproduced for publishing purposes only in connection with the book/exhibition entitled |Carol Jerrems.|” This image is held in the following institutions with their comments:
(a) “A quintessential image of the 1970s, ‘Vale Street’ has lost none of its capacity to enchant and disturb in the intervening years. In one sense it can be read as a sociological document; in another as a wholly subjective work of art.” Ref: AGNSW.
(b) “‘Vale Street’ was taken at the end of the day in St Kilda, Melbourne, where Jerrems was living, after a photographic session lasting many hours. On first glance, it has the appearance of being a straightforward documentary shot. And yet we know that it was carefully composed and orchestrated by Jerrems, who knew the subjects well.” Ref: NGA.
(c) “‘Vale Street’ is one of the most iconic photographs in Australian photography and extremely rare. MGA [Monash Gallery of Art] holds one of nine known prints.” Ref: MGA.

catalogue also has info that also Carol Jerrems was the still photographer for the 1978 Australian film |In Search of Anna,| directed by Jerrems’ then boyfriend, Esben Storm (1950–2011). Ref: King, |Up close: Carol Jerrems,| 2010.

×

Jerrems Carol Vale Street

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

93.| Carol Jerrems (Australian, 1949–1980).| Vale Street [Melbourne],| 1975.| Vintage silver gelatin photograph, signed (twice), photographer’s address “15 Park Cres., Fairfield, Vic.”, titled and dated in pink ink, and signed (twice) in pencil in “Australian Centre for Photography” copyright stamp verso, 19.2 x 24.6cm. Slight scuffing, handling creases.|
$POA| Stamp reads “Photograph by Carol Jerrems. The Australian Centre for Photography Ltd, 76A Paddington St, Paddington 2021 NSW Aust. With permission this photograph may be
reproduced for publishing purposes only in connection with the book/exhibition entitled |Carol Jerrems.|” This image is held in the following institutions with their comments:
(a) “A quintessential image of the 1970s, ‘Vale Street’ has lost none of its capacity to enchant and disturb in the intervening years. In one sense it can be read as a sociological document; in another as a wholly subjective work of art.” Ref: AGNSW.
(b) “‘Vale Street’ was taken at the end of the day in St Kilda, Melbourne, where Jerrems was living, after a photographic session lasting many hours. On first glance, it has the appearance of being a straightforward documentary shot. And yet we know that it was carefully composed and orchestrated by Jerrems, who knew the subjects well.” Ref: NGA.
(c) “‘Vale Street’ is one of the most iconic photographs in Australian photography and extremely rare. MGA [Monash Gallery of Art] holds one of nine known prints.” Ref: MGA.

catalogue also has info that also Carol Jerrems was the still photographer for the 1978 Australian film |In Search of Anna,| directed by Jerrems’ then boyfriend, Esben Storm (1950–2011). Ref: King, |Up close: Carol Jerrems,| 2010.

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Lewis Jonview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

102.| Jon Lewis (Aust., b.1950).| Bondi [Two Women],| 1984.| Vintage silver gelatin photo­ graph, titled, signed and dated in pencil verso, 38.2 x 47.8cm. Slight stain to upper margin.|
$2650|
$2250| “Lewis’ images do not over illustrate the popular beach concept of the sexy, pretty girl. His bodies embrace all folk­orientated shapes: fat ones, short ones, thick ones, thin ones, wrinkled ones, strong ones, daggy ones, all accompanied by the extra flesh and bone bits which make up the whole. His outlook is refreshingly extrovert with a difference. He has a great spiritual affinity for these people and uses his camera with appropriate feeling, not just as an instrument for objective recording.” Ref:
Max Dupain, |SMH,| 25.6.1985.

and

Born in Maryland, USA, Jon Lewis is a self­taught photographer. “He spent the early years of his career working as a social photographer and film maker, living with artists like Martin Sharp, Brett Whiteley and George Gittoes in the Yellow House in Potts Point [NSW]. He was a founding member of Greenpeace, and his early film |Dolphin Dreamin| is now in the collection of the National Gallery of Australia. In 1984 he began taking the first of his many photographs of people on Bondi Beach, which were exhibited in Paris and toured between 1989 and 1993. SBS made a documentary about his work in 1990...[Writer and photographer] Robert McFarlane has written that Lewis is ‘the burr under the saddle of Australian photography’ because of his insistence on a pure, rather than a conceptual, approach to the medium.” Ref: NPG.

×

Lewis Jon

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

102.| Jon Lewis (Aust., b.1950).| Bondi [Two Women],| 1984.| Vintage silver gelatin photo­ graph, titled, signed and dated in pencil verso, 38.2 x 47.8cm. Slight stain to upper margin.|
$2650|
$2250| “Lewis’ images do not over illustrate the popular beach concept of the sexy, pretty girl. His bodies embrace all folk­orientated shapes: fat ones, short ones, thick ones, thin ones, wrinkled ones, strong ones, daggy ones, all accompanied by the extra flesh and bone bits which make up the whole. His outlook is refreshingly extrovert with a difference. He has a great spiritual affinity for these people and uses his camera with appropriate feeling, not just as an instrument for objective recording.” Ref:
Max Dupain, |SMH,| 25.6.1985.

and

Born in Maryland, USA, Jon Lewis is a self­taught photographer. “He spent the early years of his career working as a social photographer and film maker, living with artists like Martin Sharp, Brett Whiteley and George Gittoes in the Yellow House in Potts Point [NSW]. He was a founding member of Greenpeace, and his early film |Dolphin Dreamin| is now in the collection of the National Gallery of Australia. In 1984 he began taking the first of his many photographs of people on Bondi Beach, which were exhibited in Paris and toured between 1989 and 1993. SBS made a documentary about his work in 1990...[Writer and photographer] Robert McFarlane has written that Lewis is ‘the burr under the saddle of Australian photography’ because of his insistence on a pure, rather than a conceptual, approach to the medium.” Ref: NPG.

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Lewis Jonview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

104.| Jon Lewis (Aust., b.1950).| Thelma Clune,| 1987.| Silver gelatin photograph, titled, signed and dated in pencil verso, 57.8 x 48.1cm. Slight stains and creases to margins.|
$2650 Thelma Clune (1900–1992) was an Australian artist and sculptor who opened galleries in Kings Cross with her husband, writer Frank Clune (1893–1971). Their galleries exhibited prominent Australian artists such as John Olsen, Russell Drysdale and Robert Hughes. The Terry Clune Art Galleries, opened by Thelma, Frank and their son Terry, located at what was their home on 59 Macleay Street, Kings Cross, was later to become the renowned Yellow House, an artists’ collective established by
Martin Sharp in 1970. Ref: NPG, Wiki.

×

Lewis Jon

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

104.| Jon Lewis (Aust., b.1950).| Thelma Clune,| 1987.| Silver gelatin photograph, titled, signed and dated in pencil verso, 57.8 x 48.1cm. Slight stains and creases to margins.|
$2650 Thelma Clune (1900–1992) was an Australian artist and sculptor who opened galleries in Kings Cross with her husband, writer Frank Clune (1893–1971). Their galleries exhibited prominent Australian artists such as John Olsen, Russell Drysdale and Robert Hughes. The Terry Clune Art Galleries, opened by Thelma, Frank and their son Terry, located at what was their home on 59 Macleay Street, Kings Cross, was later to become the renowned Yellow House, an artists’ collective established by
Martin Sharp in 1970. Ref: NPG, Wiki.

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Clune Thelma portrait ofview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

104.| Jon Lewis (Aust., b.1950).| Thelma Clune,| 1987.| Silver gelatin photograph, titled, signed and dated in pencil verso, 57.8 x 48.1cm. Slight stains and creases to margins.|
$2650 Thelma Clune (1900–1992) was an Australian artist and sculptor who opened galleries in Kings Cross with her husband, writer Frank Clune (1893–1971). Their galleries exhibited prominent Australian artists such as John Olsen, Russell Drysdale and Robert Hughes. The Terry Clune Art Galleries, opened by Thelma, Frank and their son Terry, located at what was their home on 59 Macleay Street, Kings Cross, was later to become the renowned Yellow House, an artists’ collective established by
Martin Sharp in 1970. Ref: NPG, Wiki.

×

Clune Thelma portrait of

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

104.| Jon Lewis (Aust., b.1950).| Thelma Clune,| 1987.| Silver gelatin photograph, titled, signed and dated in pencil verso, 57.8 x 48.1cm. Slight stains and creases to margins.|
$2650 Thelma Clune (1900–1992) was an Australian artist and sculptor who opened galleries in Kings Cross with her husband, writer Frank Clune (1893–1971). Their galleries exhibited prominent Australian artists such as John Olsen, Russell Drysdale and Robert Hughes. The Terry Clune Art Galleries, opened by Thelma, Frank and their son Terry, located at what was their home on 59 Macleay Street, Kings Cross, was later to become the renowned Yellow House, an artists’ collective established by
Martin Sharp in 1970. Ref: NPG, Wiki.

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Matthews Grantview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Grant Matthews was the still photographer for the film The Piano by Jane Campion. The movie is a “1993 New Zealand drama film about a mute piano player and her daughter, set during the mid­19th century in a rainy, muddy frontier backwater town on the west coast of New Zealand.” Ref: Wiki.

110.| Grant Matthews (Australian, b.1952).| Maori Woman With Hat,| c1993.| Silver gelatin photograph from Polaroid contact print, faded signature in ink in lower margin, artist and title on “Stills Gallery” label on frame verso, 51.6 x
40.5cm. Framed.

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Matthews Grant

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Grant Matthews was the still photographer for the film The Piano by Jane Campion. The movie is a “1993 New Zealand drama film about a mute piano player and her daughter, set during the mid­19th century in a rainy, muddy frontier backwater town on the west coast of New Zealand.” Ref: Wiki.

110.| Grant Matthews (Australian, b.1952).| Maori Woman With Hat,| c1993.| Silver gelatin photograph from Polaroid contact print, faded signature in ink in lower margin, artist and title on “Stills Gallery” label on frame verso, 51.6 x
40.5cm. Framed.

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Moffitt William H 1888-1948view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
115.| William H. Moffitt (Aust., 1888–1948).| Landscape, Katoomba [Blue Mountains, NSW],| 1938.| Vintage bromoil, signed and dated in pencil on image lower right, titled in
pencil in lower margin, 21.3 x 14.8cm. | Provenance: Moffitt estate.
A Sydney solicitor who took up photography about 1920, Moffitt joined the Sydney Camera Club in 1927. He experimented with paper negatives in the 1930s, producing landscape bromoils which have a distinctive graphic style. Always an advocate for pictorial photography, he wrote an article for the |Australasian Photo-Review| in 1947 defending the techniques used in pictorial photography.

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Moffitt William H 1888-1948

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
115.| William H. Moffitt (Aust., 1888–1948).| Landscape, Katoomba [Blue Mountains, NSW],| 1938.| Vintage bromoil, signed and dated in pencil on image lower right, titled in
pencil in lower margin, 21.3 x 14.8cm. | Provenance: Moffitt estate.
A Sydney solicitor who took up photography about 1920, Moffitt joined the Sydney Camera Club in 1927. He experimented with paper negatives in the 1930s, producing landscape bromoils which have a distinctive graphic style. Always an advocate for pictorial photography, he wrote an article for the |Australasian Photo-Review| in 1947 defending the techniques used in pictorial photography.

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Moore Davidview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
120.| David Moore (Australian, 1927–2003).| Slinging Passengers’ Baggage,| 1950/1993.| Silver gelatin photo­ graph, signed in ink on image lower right, 27.5 x 20.1cm. Framed.|
$3950| Accompanied by a certificate of authenticity from the estate of David Moore, signed by daughter Lisa Moore in pencil with date “November 2016.” Text continues “printed during David Moore’s lifetime in 1993 with
his supervision and is printed from the original negative.”
A widely travelled photojournalist, David Moore was one of Australia’s most significant photographers. “Moore commenced his professional photographic career in Sydney with Russell Roberts’ studio in 1947. Later he worked with Max Dupain before travelling to London in 1951. He was the first Australian photojournalist to work consistently for the international picture magazines during their heyday in the 1950s. For seven years
he photographed on assignment in the UK, Europe, Scandinavia, Africa and the USA, and his work was published in [magazines including] |The Observer, Time-Life, Look, The New York Times| and |Sports Illustrated.| He was one of only two Australian photographers included in the |Family of Man| exhibition in New York in 1955...From the 1970s Moore was based in Sydney.” His work is held in many private and public institutions including the National Gallery of Australia, New York Museum of Modern Art, Le Bibliothéque Nationale, and the Smithsonian. Ref: David Moore Archive.

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Moore David

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
120.| David Moore (Australian, 1927–2003).| Slinging Passengers’ Baggage,| 1950/1993.| Silver gelatin photo­ graph, signed in ink on image lower right, 27.5 x 20.1cm. Framed.|
$3950| Accompanied by a certificate of authenticity from the estate of David Moore, signed by daughter Lisa Moore in pencil with date “November 2016.” Text continues “printed during David Moore’s lifetime in 1993 with
his supervision and is printed from the original negative.”
A widely travelled photojournalist, David Moore was one of Australia’s most significant photographers. “Moore commenced his professional photographic career in Sydney with Russell Roberts’ studio in 1947. Later he worked with Max Dupain before travelling to London in 1951. He was the first Australian photojournalist to work consistently for the international picture magazines during their heyday in the 1950s. For seven years
he photographed on assignment in the UK, Europe, Scandinavia, Africa and the USA, and his work was published in [magazines including] |The Observer, Time-Life, Look, The New York Times| and |Sports Illustrated.| He was one of only two Australian photographers included in the |Family of Man| exhibition in New York in 1955...From the 1970s Moore was based in Sydney.” His work is held in many private and public institutions including the National Gallery of Australia, New York Museum of Modern Art, Le Bibliothéque Nationale, and the Smithsonian. Ref: David Moore Archive.

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Morler Lewis 1925-2013 portrait of Christine Keelerview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
129.| Lewis Morley (British/Aust., 1925–2013).| Christine Keeler,| 1963/1999.| Platinum palladium print, titled, editioned 23/25 and signed in pencil in lower margin, printing date on frame label verso, 45.3 x 34.8cm. Framed.| $38,500|
This image was one of a series of publicity shots for a film on the Profumo scandal, which was not released in the UK.
Held in AGNSW with the comment “One of the sixties’ most significant chroniclers, Lewis Morley is most known for his personages of the celebrities and rising stars from this restless and radical period, such as his iconic image of Christine Keeler seated naked on a fake Arne Jacobsen chair. In a photographic career spanning some 50 years Morley’s
work has made important contributions to the genres of portraiture, theatre, reportage and fashion photography.”

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Morler Lewis 1925-2013 portrait of Christine Keeler

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
129.| Lewis Morley (British/Aust., 1925–2013).| Christine Keeler,| 1963/1999.| Platinum palladium print, titled, editioned 23/25 and signed in pencil in lower margin, printing date on frame label verso, 45.3 x 34.8cm. Framed.| $38,500|
This image was one of a series of publicity shots for a film on the Profumo scandal, which was not released in the UK.
Held in AGNSW with the comment “One of the sixties’ most significant chroniclers, Lewis Morley is most known for his personages of the celebrities and rising stars from this restless and radical period, such as his iconic image of Christine Keeler seated naked on a fake Arne Jacobsen chair. In a photographic career spanning some 50 years Morley’s
work has made important contributions to the genres of portraiture, theatre, reportage and fashion photography.”

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Scott Rogerview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
Ref Roger Scott: from the street,| 2001

Roger Scott began his career as a printer at Leicagraph, Sydney, later studying photography at Sydney Technical College. Following travel in Europe, he set up his own business in 1978 as a documentary photographer and specialist printer of black­ and­white work. After several group exhibitions, he held his first solo exhibition in 1978. Roger’s photographs reflect the everyday life of people around him, with a quirky affection for what he sees. Ref: JLG.

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Scott Roger

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
Ref Roger Scott: from the street,| 2001

Roger Scott began his career as a printer at Leicagraph, Sydney, later studying photography at Sydney Technical College. Following travel in Europe, he set up his own business in 1978 as a documentary photographer and specialist printer of black­ and­white work. After several group exhibitions, he held his first solo exhibition in 1978. Roger’s photographs reflect the everyday life of people around him, with a quirky affection for what he sees. Ref: JLG.

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Sievers Wolfgandview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

155.| Wolfgang Sievers (German/Aust., 1913–2007).| Ropemaking, Miller Rope Factory, Melbourne,| c1962.| Vintage silver gelatin photograph, titled in pencil with two photographer’s stamps verso, 23.6 x 19cm. Slight indentations to image upper right and centre. Framed.|
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Illustrated in McKenzie, $3950| photographers Australia,| 1998, p43 with Sievers’ commentary “In this image the dignity of man is staring you straight in the face. Respect for other human beings, and especially the worker, is what has motivated me in much of my industrial photography.” Held in NGA.

Born in Berlin, Sievers attended Contempora School for Applied Arts, which followed Bauhaus philosophy and subsequently influenced
Sievers. He emigrated to Australia in 1938, and specialised first in architectural photography, then in industrial photography, with dramatic images showing the relationship between worker and machine. Prior to his latter years, Sievers’ photography was mostly seen in commercial displays and annual reports. His work is represented in major Australian and overseas institutions. Ref: Wiki.

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Sievers Wolfgand

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

155.| Wolfgang Sievers (German/Aust., 1913–2007).| Ropemaking, Miller Rope Factory, Melbourne,| c1962.| Vintage silver gelatin photograph, titled in pencil with two photographer’s stamps verso, 23.6 x 19cm. Slight indentations to image upper right and centre. Framed.|
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Illustrated in McKenzie, $3950| photographers Australia,| 1998, p43 with Sievers’ commentary “In this image the dignity of man is staring you straight in the face. Respect for other human beings, and especially the worker, is what has motivated me in much of my industrial photography.” Held in NGA.

Born in Berlin, Sievers attended Contempora School for Applied Arts, which followed Bauhaus philosophy and subsequently influenced
Sievers. He emigrated to Australia in 1938, and specialised first in architectural photography, then in industrial photography, with dramatic images showing the relationship between worker and machine. Prior to his latter years, Sievers’ photography was mostly seen in commercial displays and annual reports. His work is represented in major Australian and overseas institutions. Ref: Wiki.

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Scott Rovere aka Robert Vere Scott view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

153.| Rovere Scott aka Robert Vere Scott (Australian/American, 1877–1945). [Views Of San Francisco, California],| 1933.| Three vin­ tage silver gelatin photographs, each titled with photographer’s line in negative lower left to right, titled and dated by previous owner “Lupton” in ink verso, 19 x 24cm (each). Silver- ing, minor creases and surface loss.|
The group $2650 Titles read (1) The Golden Gate, SF, Calif.; (2) Seal Rocks, Cliff House, SF, Calif.; (3) Crossing the Bay, ferry building and skyline, SF, Calif. Two images held
in California Historical Society Library.

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Scott Rovere aka Robert Vere Scott

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

153.| Rovere Scott aka Robert Vere Scott (Australian/American, 1877–1945). [Views Of San Francisco, California],| 1933.| Three vin­ tage silver gelatin photographs, each titled with photographer’s line in negative lower left to right, titled and dated by previous owner “Lupton” in ink verso, 19 x 24cm (each). Silver- ing, minor creases and surface loss.|
The group $2650 Titles read (1) The Golden Gate, SF, Calif.; (2) Seal Rocks, Cliff House, SF, Calif.; (3) Crossing the Bay, ferry building and skyline, SF, Calif. Two images held
in California Historical Society Library.

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Smith Arthurview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

158.| Arthur Smith (Aust., c1871–1945).| The Cabbage Patch,| c1920s.| Vintage bromoil, titled and signed in pencil on backing below image, 22.4 x 23.7cm. Slight foxing, tipped to original backing.|
$1350| British­born Arthur Smith was a member of the Photo­ graphic Society of NSW and a regular writer for the |Australasian Photo-Review.| In the early 1930s, he wrote a series of articles entitled ‘Letters from an uncle’, one of which, ‘Photography in the city’ (March 1930) became “a classic insight into the Pictorialists’ compositional ideals with sunshine balanced against shadow, lights against darks.” Smith “never lost his love of English atmosphere. He was reputed to have lit fires in fields to obtain the effect desired.” Ref: G.
Newton (Photo­web).

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Smith Arthur

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

158.| Arthur Smith (Aust., c1871–1945).| The Cabbage Patch,| c1920s.| Vintage bromoil, titled and signed in pencil on backing below image, 22.4 x 23.7cm. Slight foxing, tipped to original backing.|
$1350| British­born Arthur Smith was a member of the Photo­ graphic Society of NSW and a regular writer for the |Australasian Photo-Review.| In the early 1930s, he wrote a series of articles entitled ‘Letters from an uncle’, one of which, ‘Photography in the city’ (March 1930) became “a classic insight into the Pictorialists’ compositional ideals with sunshine balanced against shadow, lights against darks.” Smith “never lost his love of English atmosphere. He was reputed to have lit fires in fields to obtain the effect desired.” Ref: G.
Newton (Photo­web).

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Smith Heideview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

161.| Heide Smith (German/Aust., b.1937).| Neville Wommatakimmi [With Carved Figure],| 1988/1989.| Vintage silver gelatin photograph, signed, titled and dated in pencil verso, 34.7 x 28cm. Slight indentations and chips to edges of image.|
$4400| Illustrated in Smith, |Tiwi: the life and art of Australia’s Tiwi
people,| 1990, p122.

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Smith Heide

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

161.| Heide Smith (German/Aust., b.1937).| Neville Wommatakimmi [With Carved Figure],| 1988/1989.| Vintage silver gelatin photograph, signed, titled and dated in pencil verso, 34.7 x 28cm. Slight indentations and chips to edges of image.|
$4400| Illustrated in Smith, |Tiwi: the life and art of Australia’s Tiwi
people,| 1990, p122.

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Smith Julianview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

162.| JulianSmith(Aust.,1873–1947).| ThePlotThickens,| c1930s.| Vintage silver gelatin photograph, titled and signed in pencil on accompanying original board from mount, 42.4 x 33.4cm. Soiling and stains to upper portion, slight silvering, retouching to image centre right, crinkles.|
Illustrated in Smith,
Fifty masterpieces of photography, as a smaller scale photogravure. Held in NGV, NLA.
A surgeon by profession, Smith used friends and models to portray dramatic characterisations. His original photographs are rare as he did not create set editions of his images. His work, more commonly seen as photogravures from his printed folio |Fifty masterpieces of photography,| is often confused for original photographs. Ref: JLG.

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Smith Julian

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

162.| JulianSmith(Aust.,1873–1947).| ThePlotThickens,| c1930s.| Vintage silver gelatin photograph, titled and signed in pencil on accompanying original board from mount, 42.4 x 33.4cm. Soiling and stains to upper portion, slight silvering, retouching to image centre right, crinkles.|
Illustrated in Smith,
Fifty masterpieces of photography, as a smaller scale photogravure. Held in NGV, NLA.
A surgeon by profession, Smith used friends and models to portray dramatic characterisations. His original photographs are rare as he did not create set editions of his images. His work, more commonly seen as photogravures from his printed folio |Fifty masterpieces of photography,| is often confused for original photographs. Ref: JLG.

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Smith Robinview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

163.| Robin Smith (NZ/Australian, b.1927).| Woman Returning Home, Evening [New Guinea],| 1968.| Vintage silver gelatin photograph, captioned, titled, dated and signed in ink verso, 39.5 x 29.2cm. Minor creases, surface loss to image upper centre, slight
silvering and developing flaws. Caption includes “New Guinea, East Highlands, on the road to Kainantu.” Illustrated on rear endpaper in Smith, |New Guinea: a
journey through 10,000 years,| 1969.

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Smith Robin

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

163.| Robin Smith (NZ/Australian, b.1927).| Woman Returning Home, Evening [New Guinea],| 1968.| Vintage silver gelatin photograph, captioned, titled, dated and signed in ink verso, 39.5 x 29.2cm. Minor creases, surface loss to image upper centre, slight
silvering and developing flaws. Caption includes “New Guinea, East Highlands, on the road to Kainantu.” Illustrated on rear endpaper in Smith, |New Guinea: a
journey through 10,000 years,| 1969.

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Talbot Henryview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

167.| Henry Talbot (Aust., 1920–1999).| Janice Wakely In Hong Kong,| 1960.| Vintage silver gelatin photograph, titled, dated and signed (twice) in ink and pencil verso, 29.7 x 25.8cm. Minor tears, chips and creases to upper edge, slight scuffing, developing flaw to image lower left.|
$3300| “Janice Wakely [née McIllree], fashion model and photographer, began her modelling career in Melbourne in 1954, having graduated from Sydney’s Mannequin Academy in 1952...[After 1956] she went to London, where she was dubbed ‘The Girl of
the Moment’.” Ref: NPG.
“Talbot’s fashion photographs were taken both in Australia and overseas. One series was shot in Hong Kong and Asia in 1960, and another project in Paris for the Australian Wool Bureau in 1967.” Ref: MAAS.

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Talbot Henry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

167.| Henry Talbot (Aust., 1920–1999).| Janice Wakely In Hong Kong,| 1960.| Vintage silver gelatin photograph, titled, dated and signed (twice) in ink and pencil verso, 29.7 x 25.8cm. Minor tears, chips and creases to upper edge, slight scuffing, developing flaw to image lower left.|
$3300| “Janice Wakely [née McIllree], fashion model and photographer, began her modelling career in Melbourne in 1954, having graduated from Sydney’s Mannequin Academy in 1952...[After 1956] she went to London, where she was dubbed ‘The Girl of
the Moment’.” Ref: NPG.
“Talbot’s fashion photographs were taken both in Australia and overseas. One series was shot in Hong Kong and Asia in 1960, and another project in Paris for the Australian Wool Bureau in 1967.” Ref: MAAS.

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Tedeschi Mark (Aust., b.1952view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

169.| Mark Tedeschi (Aust., b.1952).| Lewis Morley [Photographer],| 2003/ 2006.| Digital print, signed and dated in ink in lower margin, titled, signed and dated verso, 24 x 37.6cm. Slight scuffing.|
$1100| A composite of Christine Keeler [Morley’s most famous image] and Pat Morley [his wife] is seen in
the mirror above the fireplace.
In his book |Shooting around corners| (2012, p122), Tedeschi writes “Lewis Morley has been the object of my admiration for many years. He is a most generous man with his time, advice, encouragement and friendship. When we get together, generally at his place, we often start shooting at each other.”

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Tedeschi Mark (Aust., b.1952

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

169.| Mark Tedeschi (Aust., b.1952).| Lewis Morley [Photographer],| 2003/ 2006.| Digital print, signed and dated in ink in lower margin, titled, signed and dated verso, 24 x 37.6cm. Slight scuffing.|
$1100| A composite of Christine Keeler [Morley’s most famous image] and Pat Morley [his wife] is seen in
the mirror above the fireplace.
In his book |Shooting around corners| (2012, p122), Tedeschi writes “Lewis Morley has been the object of my admiration for many years. He is a most generous man with his time, advice, encouragement and friendship. When we get together, generally at his place, we often start shooting at each other.”

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Tedeschi Markview full entry

Reference: Shooting around corners : photographs / by Mark Tedeschi ; introduction by John McDonald. [’This book is a "comprehensive collection of Mark Tedeschi's photographs which provides a sample of twenty-five years of his work. During this period he has been a prolific photographer, which is especially remarkable considering the other side of his life as the Senior Crown Prosecutor for New South Wales, prosecuting some of the most significant criminal trials in the State. The photographs cover a wide gamut of topics from indigenous urban and rural communities to constructed scenes of barristers? extracurricular pastimes and hobbies; from landscapes of urban decay to dramatic portrayals of the Australian desert; from portraits of prominent artists to delicate images of children and the elderly; and from intriguing domestic interiors to dramatic images of personal pathos on the streets of northern Italy. Many of his images are enigmatic, humorous, and deep with subtle meaning, requiring the viewer to engage with them to fully appreciate them. His special ability is to cross cultural boundaries and engage with people from a wide variety of backgrounds." - dustjacket.

"It is published in association with an exhibition at the State Library of New South Wales entitled 'Onside with the NRL'..." - dustjacket.’]
Publishing details: The Beagle Press, [2012] 180 pages : colour illustrations, portraits, photographs. Includes index.
Ref: 1000

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Tedeschi Mark

Reference: Shooting around corners : photographs / by Mark Tedeschi ; introduction by John McDonald. [’This book is a "comprehensive collection of Mark Tedeschi's photographs which provides a sample of twenty-five years of his work. During this period he has been a prolific photographer, which is especially remarkable considering the other side of his life as the Senior Crown Prosecutor for New South Wales, prosecuting some of the most significant criminal trials in the State. The photographs cover a wide gamut of topics from indigenous urban and rural communities to constructed scenes of barristers? extracurricular pastimes and hobbies; from landscapes of urban decay to dramatic portrayals of the Australian desert; from portraits of prominent artists to delicate images of children and the elderly; and from intriguing domestic interiors to dramatic images of personal pathos on the streets of northern Italy. Many of his images are enigmatic, humorous, and deep with subtle meaning, requiring the viewer to engage with them to fully appreciate them. His special ability is to cross cultural boundaries and engage with people from a wide variety of backgrounds." - dustjacket.

"It is published in association with an exhibition at the State Library of New South Wales entitled 'Onside with the NRL'..." - dustjacket.’]

Publishing details: The Beagle Press, [2012] 180 pages : colour illustrations, portraits, photographs. Includes index.

Location: 1000

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Van Daele Patrick view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

173.| Patrick Van Daele (Aust., b.1960).| Piccadilly Theatre [Adelaide, SA],| 1996.| Vintage C­type photograph with added hand­colouring, captioned “Piccadilly”, signed and dated in ink verso, 26 x 19.1cm. Minor handling creases.|
$1100| Illustrated in Van Daele and Lumby, |Art Deco architecture in
Australia: a spirit of progress,| 1997, p193.
Designed by architects Evans, Bruer and Hall with Guy Crick, the Piccadilly Theatre opened in October 1940.

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Van Daele Patrick

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

173.| Patrick Van Daele (Aust., b.1960).| Piccadilly Theatre [Adelaide, SA],| 1996.| Vintage C­type photograph with added hand­colouring, captioned “Piccadilly”, signed and dated in ink verso, 26 x 19.1cm. Minor handling creases.|
$1100| Illustrated in Van Daele and Lumby, |Art Deco architecture in
Australia: a spirit of progress,| 1997, p193.
Designed by architects Evans, Bruer and Hall with Guy Crick, the Piccadilly Theatre opened in October 1940.

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Lloyd R Ian view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

180.| R. Ian Lloyd (Canadian/Aust., b.1953).| Singapore, Old Chinatown,| 1984/2019.| Folio of 30 giclée prints from colour transparencies, each image signed in ink in lower margin, titled,
dated and signed in ink verso, 26.5 x 41.9cm to 42 x 28.5cm.
The folio $29,700 This folio of 30 photographs is sold as a boxed set in an edition of 12, and includes an out of print, signed copy of Lloyd’s book, which illustrates these images. The price of the folio will increase as the edition
sells. A detailed list of the folio is available on request.
Lloyd photographed a series of images of Singapore during 1984 to document the city’s changes, as it was “rapidly modernising, shedding its colonial era image of a sailors’ port for an island city state with high­rises and high­tech manufacturing...[Chinatown] was not the image that the government wanted to promote to tourists and investors.” Lloyd spent time photographing and documenting Chinatown before its inevitable re­development, lending his photographs greater historical importance. His images were turned into a book, |Chinatown: a
personal portfolio,| published in 1984 by MPH Bookstores (Singapore). Ref: R. Ian Lloyd.

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Lloyd R Ian

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

180.| R. Ian Lloyd (Canadian/Aust., b.1953).| Singapore, Old Chinatown,| 1984/2019.| Folio of 30 giclée prints from colour transparencies, each image signed in ink in lower margin, titled,
dated and signed in ink verso, 26.5 x 41.9cm to 42 x 28.5cm.
The folio $29,700 This folio of 30 photographs is sold as a boxed set in an edition of 12, and includes an out of print, signed copy of Lloyd’s book, which illustrates these images. The price of the folio will increase as the edition
sells. A detailed list of the folio is available on request.
Lloyd photographed a series of images of Singapore during 1984 to document the city’s changes, as it was “rapidly modernising, shedding its colonial era image of a sailors’ port for an island city state with high­rises and high­tech manufacturing...[Chinatown] was not the image that the government wanted to promote to tourists and investors.” Lloyd spent time photographing and documenting Chinatown before its inevitable re­development, lending his photographs greater historical importance. His images were turned into a book, |Chinatown: a
personal portfolio,| published in 1984 by MPH Bookstores (Singapore). Ref: R. Ian Lloyd.

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Weight Gregview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

178.| Greg Weight (Aust., b.1946).| John Olsen In Bath, Rydal [NSW],| 1996/later printing.| Silver gelatin photograph, photographer’s blindstamp on image lower right, annotated “A/P” and signed in ink in lower margin, titled, dated (twice) and signed in pencil verso, 46.8 x 35.3cm. |
$2200| Illustrated on front cover and in |Australian artists: portraits by Greg Weight,| 2004, p35 with comment “John told me his knees were giving him trouble and the bed and the bath at times became his only landscape...John hopped in the bath, fully clothed, with brushes in hand. The session developed into a spontaneous parody of the Jacques­Louis David
painting ‘The Death of Marat.’” Held in NPG.
32

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Weight Greg

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

178.| Greg Weight (Aust., b.1946).| John Olsen In Bath, Rydal [NSW],| 1996/later printing.| Silver gelatin photograph, photographer’s blindstamp on image lower right, annotated “A/P” and signed in ink in lower margin, titled, dated (twice) and signed in pencil verso, 46.8 x 35.3cm. |
$2200| Illustrated on front cover and in |Australian artists: portraits by Greg Weight,| 2004, p35 with comment “John told me his knees were giving him trouble and the bed and the bath at times became his only landscape...John hopped in the bath, fully clothed, with brushes in hand. The session developed into a spontaneous parody of the Jacques­Louis David
painting ‘The Death of Marat.’” Held in NPG.
32

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Morris Frank Tview full entry

Reference: Finches of Australia A Folio By Frank Morris.
Publishing details: Lansdowne, 1976. Folio, soft covers. Colour plates throughout. In publisher's box.
Ref: 1000

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Morris Frank T

Reference: Finches of Australia A Folio By Frank Morris.

Publishing details: Lansdowne, 1976. Folio, soft covers. Colour plates throughout. In publisher's box.

Location: 1000

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Spurlings Pty Ltd view full entry

Reference: Picturesque Launceston (Tasmania) & Surrondings Illustrated by Fifty-One Artistic Views (Cover title) Front page title reads Pictorial Souvenir of Launceston (Tasmania) and Surronding Tourists Resorts Containing Fifty Artistic and Up-To-Date Views by Spurlings Pty Ltd Launceston. No date C 1920. A very good copy of a scarce book of views
Publishing details: Spurlings Pty Ltd Launceston. No date C 1920.
Ref: 1000

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Spurlings Pty Ltd

Reference: Picturesque Launceston (Tasmania) & Surrondings Illustrated by Fifty-One Artistic Views (Cover title) Front page title reads Pictorial Souvenir of Launceston (Tasmania) and Surronding Tourists Resorts Containing Fifty Artistic and Up-To-Date Views by Spurlings Pty Ltd Launceston. No date C 1920. A very good copy of a scarce book of views

Publishing details: Spurlings Pty Ltd Launceston. No date C 1920.

Location: 1000

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Ogden Johnview full entry

Reference: Portraits From A Land Without People A Pictorial Anthology of Indigenous Australia 1847 - 2008 by John Ogden.
Publishing details: Sydney Cyclops Press, 2008?
Ref: 1000

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Ogden John

Reference: Portraits From A Land Without People A Pictorial Anthology of Indigenous Australia 1847 - 2008 by John Ogden.

Publishing details: Sydney Cyclops Press, 2008?

Location: 1000

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Photographyview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
Publishing details: Josef Lebovic Gallery, 2019, 32pp

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Photography

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Publishing details: Josef Lebovic Gallery, 2019, 32pp

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Bayliss Charlesview full entry

Reference: see Charles Bayliss Clooection, issued with Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Five ]panoramas by Charles Bayliss. Essay by Gael Newton. Illustrated
Publishing details: Josef Lebovic Gallery, 2019, 8pp
Ref: 1000

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Bayliss Charles

Reference: see Charles Bayliss Clooection, issued with Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Five ]panoramas by Charles Bayliss. Essay by Gael Newton. Illustrated

Publishing details: Josef Lebovic Gallery, 2019, 8pp

Location: 1000

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Leach-Jones Alunview full entry

Reference: from DEFIANCE GALLERY NEWTOWN, May 2019,: Alun Leach-Jones was born in 1937 in Maghull, Lancashire, England.  He studied at Liverpool College of Art before emigrating to Australia, where he enrolled at the South Australian School of Art, studying printmaking under Udo Sellbach and painting with Charles Reddington.  
Leach-Jones was one of Australia’s most prominent abstract artists from the late 1960’s onwards know for his meticulous hard-edged painting style.  A master of colour and form and, an artists with a prolific output, he worked across painting, printmaking, sculpture and was known as a suburb draughtsman.  He was included in the landmark 1968 exhibition The Field at the National Gallery of Victoria and, the next year, represented Australia at the Biennale del Sao Paulo in Brazil and had over 80 solo exhibitions during his life time.  

From 1969 Leach-Jones taught at the Prahran College of Advanced Education, the National Gallery of Victoria School and the Victorian College of the Arts. 

In a career that spanned more than 45 years, Leach-Jones lived and worked in many international locations, including Berlin and New York.  Leach-Jones’ held more than 80 solo exhibitions with survey exhibitions held at Lalit Kala Academy, New Delhi, India (1974), Monash University Gallery, Melbourne (1976), Kunstlerhaus Bethanien, Berlin, Germany (1981) Glyn Vivian Art Gallery, Swansea, Wales (1992), Geelong Art Gallery, Victoria (1995) and Newcastle Region Art Gallery, New South Wales (2007). 

Leach-Jones' works are held in numerous collections in Australia and overseas, including the National Gallery of Australia and Australian state galleries, the Museum of Modern Art and Solomon R Guggenheim Museum in New York,National Museum of Wales, Cardiff;  the Victoria and Albert Museum and British Museum, London and Walker Art Gallery, Liverpool. He was a generous benefactor to the Art Gallery of NSW, gifting 42 works during his lifetime.

He is best remembered for his idiosyncratic hard-edged style of painting and as a mentor and teacher, he was responsible for fostering the careers of many younger Australian artists.  Alun Leach-Jones passed away in Sydney on 24 December 2017 and Defiance Gallery is honoured to represent the Alun Leach-Jones Estate and will continue to care for his name, work and legacy.  

" I never use colour straight from a tube or a jar; everything has to be mixed. And it’s in the mixing that gives you a signature. It’s the pitch of the tone, or the brightness of the colour, the sharpness of the edge against a softer tone."
Alun Leach-Jones

" Once you start to realise you can become a painter, or a singer, or a dancer, you get a sense of, or taste of it, the only way you can become really major, is to just keep working, working, working. You cannot afford to let your guard down "
Alun Leach-Jones

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Leach-Jones Alun

Reference: from DEFIANCE GALLERY NEWTOWN, May 2019,: Alun Leach-Jones was born in 1937 in Maghull, Lancashire, England.  He studied at Liverpool College of Art before emigrating to Australia, where he enrolled at the South Australian School of Art, studying printmaking under Udo Sellbach and painting with Charles Reddington.  
Leach-Jones was one of Australia’s most prominent abstract artists from the late 1960’s onwards know for his meticulous hard-edged painting style.  A master of colour and form and, an artists with a prolific output, he worked across painting, printmaking, sculpture and was known as a suburb draughtsman.  He was included in the landmark 1968 exhibition The Field at the National Gallery of Victoria and, the next year, represented Australia at the Biennale del Sao Paulo in Brazil and had over 80 solo exhibitions during his life time.  

From 1969 Leach-Jones taught at the Prahran College of Advanced Education, the National Gallery of Victoria School and the Victorian College of the Arts. 

In a career that spanned more than 45 years, Leach-Jones lived and worked in many international locations, including Berlin and New York.  Leach-Jones’ held more than 80 solo exhibitions with survey exhibitions held at Lalit Kala Academy, New Delhi, India (1974), Monash University Gallery, Melbourne (1976), Kunstlerhaus Bethanien, Berlin, Germany (1981) Glyn Vivian Art Gallery, Swansea, Wales (1992), Geelong Art Gallery, Victoria (1995) and Newcastle Region Art Gallery, New South Wales (2007). 

Leach-Jones' works are held in numerous collections in Australia and overseas, including the National Gallery of Australia and Australian state galleries, the Museum of Modern Art and Solomon R Guggenheim Museum in New York,National Museum of Wales, Cardiff;  the Victoria and Albert Museum and British Museum, London and Walker Art Gallery, Liverpool. He was a generous benefactor to the Art Gallery of NSW, gifting 42 works during his lifetime.

He is best remembered for his idiosyncratic hard-edged style of painting and as a mentor and teacher, he was responsible for fostering the careers of many younger Australian artists.  Alun Leach-Jones passed away in Sydney on 24 December 2017 and Defiance Gallery is honoured to represent the Alun Leach-Jones Estate and will continue to care for his name, work and legacy.  

" I never use colour straight from a tube or a jar; everything has to be mixed. And it’s in the mixing that gives you a signature. It’s the pitch of the tone, or the brightness of the colour, the sharpness of the edge against a softer tone."
Alun Leach-Jones

" Once you start to realise you can become a painter, or a singer, or a dancer, you get a sense of, or taste of it, the only way you can become really major, is to just keep working, working, working. You cannot afford to let your guard down "
Alun Leach-Jones

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Feint Adrian (1894-1971)view full entry

Reference: The life and times of Captain John Piper / by M. Barnard Eldershaw ; illustrated by Adrian Feint
Publishing details: First published, Sydney: Australian Limited Editions Society, 1939. 201pp,
Bibliography: p.201.
Ref: 1000

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Feint Adrian (1894-1971)

Reference: The life and times of Captain John Piper / by M. Barnard Eldershaw ; illustrated by Adrian Feint

Publishing details: First published, Sydney: Australian Limited Editions Society, 1939. 201pp,
Bibliography: p.201.

Location: 1000

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Mais Hilarieview full entry

Reference: Hilarie Mais

[’Hilarie Mais was born in the UK and lives and works in Sydney. Her work is characterised by a deep interest in the grid and its expressive possibilities. She makes abstract constructions and paintings that merge the formal structure of the grid with an interest in more organic forms found in nature.

Mais has been making work since the 1970s, influenced in part by her interest in the history of abstraction – in particular mid-20th century English constructivism, as well as later American minimalism including the work of Agnes Martin.

Mais’s work brings together formal geometry with biological and cellular structures to generate subtle visual experiences that are broadened expressively through the highly personalised application of paint. As such, the apparent formality of her works is undercut by emotional truth and underpinned by an organic and intimate sensibility, whilst the handmade quality of the works functions to personalise, even ‘feminise’ abstraction.

This beautifully designed exhibition catalogue presents a range of key works by Hilarie Mais made over the last decade and includes full colour reproductions and essays by co-curators Blair French and Manya Sellers.’]
Publishing details: MCA, 2017, Hardcover
144 pages,
Ref: 1000

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Mais Hilarie

Reference: Hilarie Mais

[’Hilarie Mais was born in the UK and lives and works in Sydney. Her work is characterised by a deep interest in the grid and its expressive possibilities. She makes abstract constructions and paintings that merge the formal structure of the grid with an interest in more organic forms found in nature.

Mais has been making work since the 1970s, influenced in part by her interest in the history of abstraction – in particular mid-20th century English constructivism, as well as later American minimalism including the work of Agnes Martin.

Mais’s work brings together formal geometry with biological and cellular structures to generate subtle visual experiences that are broadened expressively through the highly personalised application of paint. As such, the apparent formality of her works is undercut by emotional truth and underpinned by an organic and intimate sensibility, whilst the handmade quality of the works functions to personalise, even ‘feminise’ abstraction.

This beautifully designed exhibition catalogue presents a range of key works by Hilarie Mais made over the last decade and includes full colour reproductions and essays by co-curators Blair French and Manya Sellers.’]

Publishing details: MCA, 2017, Hardcover
144 pages,

Location: 1000

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Sobraneview full entry

Reference: see  Thienny Lee Gallery June 2019.
Sobrane
 
Where The Wild Birds Are 

Exhibition: 13 June - 2 July 2019
Opening: Thursday 13 June, 6-8 pm
Please join us for opening drinks and meet the Artist. 

Internationally acclaimed Broome based artist, Sobrane regularly holds exhibitions around Australia and overseas. Apart from her studio based works, she also works on large-scale murals and recently completed a 30-metre wall in Soriano Nel Cimino, as her third project on mural painting in Italy. In Where the Wild Birds Are, she features a series of mixed media artworks on canvas as a response to her passion for wildlife in Australia and around the globe, particularly fresh from her recent adventures in Tanzania. In this series, Sobrane continues her focus on birds and other wildlife as subject matters through her bold strokes that evokes an approach to pop art. Her exploration of medium parallels the materials found in everyday life, including the frequent use of blended charcoal, spray paint, coffee and pastels. These are employed together to create a fusion of painting, drawing, spraying, lines and dots marking on canvas. Running throughout her work is a strong intent to break through the confines of societal expectations and everydayness.

Creating is like breathing to me. There isn’t a single moment in my day where my creative mind isn’t whirring away… Art as in life is an adventure!” – Sobrane

Publishing details: Thienny Lee Gallery
176 New South Head Road, Edgecliff, NSW 2027

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Sobrane

Reference: see  Thienny Lee Gallery June 2019.
Sobrane
 
Where The Wild Birds Are 

Exhibition: 13 June - 2 July 2019
Opening: Thursday 13 June, 6-8 pm
Please join us for opening drinks and meet the Artist. 

Internationally acclaimed Broome based artist, Sobrane regularly holds exhibitions around Australia and overseas. Apart from her studio based works, she also works on large-scale murals and recently completed a 30-metre wall in Soriano Nel Cimino, as her third project on mural painting in Italy. In Where the Wild Birds Are, she features a series of mixed media artworks on canvas as a response to her passion for wildlife in Australia and around the globe, particularly fresh from her recent adventures in Tanzania. In this series, Sobrane continues her focus on birds and other wildlife as subject matters through her bold strokes that evokes an approach to pop art. Her exploration of medium parallels the materials found in everyday life, including the frequent use of blended charcoal, spray paint, coffee and pastels. These are employed together to create a fusion of painting, drawing, spraying, lines and dots marking on canvas. Running throughout her work is a strong intent to break through the confines of societal expectations and everydayness.

Creating is like breathing to me. There isn’t a single moment in my day where my creative mind isn’t whirring away… Art as in life is an adventure!” – Sobrane

Publishing details: Thienny Lee Gallery
176 New South Head Road, Edgecliff, NSW 2027

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Rickard Bruceview full entry

Reference: Bruce Rickard - a life in architecture. By: Julie Cracknell (Editor), Peter Lonergan (Editor), Sam Rickard (Editor). [’Bruce Rickard was one of the most significant Australian architects of the twentieth century. A key member of the Sydney School, his practice spanned 60 years and he produced some of the most notable and recognisable houses of the period.
In Bruce Rickard: A life in architecture, architects, writers, academics and family members, including Karen McCartney and Anna Fienberg (who have both lived in Rickard houses), Babette Hayes, Philip Drew and Richard Goodwin, share their unique insights into Rickard's practice.
Featuring never-before-published photographs by Max Dupain and Bruce Rickard's hand-drawn plans, this stunningly produced book celebrates the pared-back beauty and ingenuity of Rickard's buildings.
‘]
Publishing details: Samuel Rickard ?, 2018, 376pp
Ref: 1000

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Rickard Bruce

Reference: Bruce Rickard - a life in architecture. By: Julie Cracknell (Editor), Peter Lonergan (Editor), Sam Rickard (Editor). [’Bruce Rickard was one of the most significant Australian architects of the twentieth century. A key member of the Sydney School, his practice spanned 60 years and he produced some of the most notable and recognisable houses of the period.
In Bruce Rickard: A life in architecture, architects, writers, academics and family members, including Karen McCartney and Anna Fienberg (who have both lived in Rickard houses), Babette Hayes, Philip Drew and Richard Goodwin, share their unique insights into Rickard's practice.
Featuring never-before-published photographs by Max Dupain and Bruce Rickard's hand-drawn plans, this stunningly produced book celebrates the pared-back beauty and ingenuity of Rickard's buildings.
‘]

Publishing details: Samuel Rickard ?, 2018, 376pp

Location: 1000

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Goodwin Richardview full entry

Reference: Richard Goodwin - God in Reverse. Author: Richard Goodwin, Designer: Sean Hogan,
“If Italo Calvino’s Invisible Cities has Venice at its core, then God in Reverse has Sydney as its object of tough love, unravelling the stranglehold that financialised space has placed around the city.” – Jeremy Till.
"Richard Goodwin is a mash-up genius. Perhaps carnivorous. Woof!" – Michael Sorkin
As an artist, architect and urban activist, Richard Goodwin has never been interested in following rules. It is therefore fitting that this monograph, encompassing over four decades of work, is entirely unorthodox.
Authored and illustrated by Goodwin (with both archival photographs and recent artwork), God in Reverse fuses biography, fiction, criticism, observation and imagination. It reveals a broad range of philosophies and cultural influences that underpin Goodwin’s practice and elaborates on his unique and experimental world-view, as it applies to his architecture, public artworks, sculpture, drawings and performance art.
Having studied architecture at both RMIT and UNSW, Goodwin has been a critical commentator of architecture and urbanism, particularly within Sydney, since the 1970s. The book moves seamlessly from lambasting the commercial greed of the Barangaroo wharf development, to ruminations on the divided city of Jerusalem, to lessons in urban planning offered by coral reefs. The ethical questions raised by the text span drone warfare and super-high density housing.
Designed by award winning designer Sean Hogan, the book’s taut and irreverent design is a testament to its unconventional content, with the text-flow and layout slowly discombobulating as the pages turn.
Richard Goodwin has a PhD from University of New South Wales Art & Design where he is a Professor. He has won a number of prizes including the Wynne Prize (2011) from the Art Gallery of NSW. Goodwin’s work is held in major collections including the Art Gallery of NSW, the National Gallery of Victoria and the Nuremburg Museum. 
What others think:
“...looks like no other architect monograph we've ever seen...” American Institute of Graphic Arts, Eye on Design – Design Diary No. 242.
“If Italo Calvino’s Invisible Cities has Venice at its core, then God in Reverse has Sydney as its object of tough love, unravelling the stranglehold that financialised space has placed around the city.” – Jeremy Till.
"Richard Goodwin is a mash-up genius. Perhaps carnivorous. Woof!" – Michael Sorki
Publishing details: Publisher: Uro Publications, ISBN: 9780994396662, Hardback, 264pp, 250x340mm
Ref: 1000

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Goodwin Richard

Reference: Richard Goodwin - God in Reverse. Author: Richard Goodwin, Designer: Sean Hogan,
“If Italo Calvino’s Invisible Cities has Venice at its core, then God in Reverse has Sydney as its object of tough love, unravelling the stranglehold that financialised space has placed around the city.” – Jeremy Till.
"Richard Goodwin is a mash-up genius. Perhaps carnivorous. Woof!" – Michael Sorkin
As an artist, architect and urban activist, Richard Goodwin has never been interested in following rules. It is therefore fitting that this monograph, encompassing over four decades of work, is entirely unorthodox.
Authored and illustrated by Goodwin (with both archival photographs and recent artwork), God in Reverse fuses biography, fiction, criticism, observation and imagination. It reveals a broad range of philosophies and cultural influences that underpin Goodwin’s practice and elaborates on his unique and experimental world-view, as it applies to his architecture, public artworks, sculpture, drawings and performance art.
Having studied architecture at both RMIT and UNSW, Goodwin has been a critical commentator of architecture and urbanism, particularly within Sydney, since the 1970s. The book moves seamlessly from lambasting the commercial greed of the Barangaroo wharf development, to ruminations on the divided city of Jerusalem, to lessons in urban planning offered by coral reefs. The ethical questions raised by the text span drone warfare and super-high density housing.
Designed by award winning designer Sean Hogan, the book’s taut and irreverent design is a testament to its unconventional content, with the text-flow and layout slowly discombobulating as the pages turn.
Richard Goodwin has a PhD from University of New South Wales Art & Design where he is a Professor. He has won a number of prizes including the Wynne Prize (2011) from the Art Gallery of NSW. Goodwin’s work is held in major collections including the Art Gallery of NSW, the National Gallery of Victoria and the Nuremburg Museum. 
What others think:
“...looks like no other architect monograph we've ever seen...” American Institute of Graphic Arts, Eye on Design – Design Diary No. 242.
“If Italo Calvino’s Invisible Cities has Venice at its core, then God in Reverse has Sydney as its object of tough love, unravelling the stranglehold that financialised space has placed around the city.” – Jeremy Till.
"Richard Goodwin is a mash-up genius. Perhaps carnivorous. Woof!" – Michael Sorki

Publishing details: Publisher: Uro Publications, ISBN: 9780994396662, Hardback, 264pp, 250x340mm

Location: 1000

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Australian architecture since 1960view full entry

Reference: Australian architecture since 1960 by Jennifer Taylor,
Publishing details: Sydney : Law Book Co., 1986. 2nd edition, 236pp
Ref: 1000

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Australian architecture since 1960

Reference: Australian architecture since 1960 by Jennifer Taylor,

Publishing details: Sydney : Law Book Co., 1986. 2nd edition, 236pp

Location: 1000

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architectureview full entry

Reference: see Australian architecture since 1960 by Jennifer Taylor,
Publishing details: Sydney : Law Book Co., 1986. 2nd edition, 236pp

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architecture

Reference: see Australian architecture since 1960 by Jennifer Taylor,

Publishing details: Sydney : Law Book Co., 1986. 2nd edition, 236pp

Location:

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Sydney Art Decoview full entry

Reference: Sydney Art Deco by Peter Sheridan. [’First photographic reference book on Sydney's Art Deco architecture and lifestyle in the 1930s and 1940s containing contemporary and vintage images. The book covers commercial, residential, cinemas, pubs, civic and industrial buildings with Art Deco features.’] [’For the first time, Sydney's Art Deco buildings of the 1930s and 1940s are identified and gloriously displayed with contemporary photographs alongside archival images.
Sydney Art Deco explores the impact of the Art Deco style on the landscape and life of Sydney during the 1930s and 1940s. Using contemporary and archival photos the book covers the whole gamut of moderne, functionalist and streamlined styling in the architecture of Sydney during the 1930s and 1940s. Art Deco was a global style and Sydney Art Deco explores its impact on the lifestyle of Sydneysiders with a glimpse of Australian artwork, fashion, furniture and accessories.
The time of Art Deco was a brief hiatus between two World Wars and compounded by the devastating effects of the Great Depression. Life was not always glamorous but in many ways the style ushered in a new sense of freedom for people from the Victorian era's restrictions of class and attachment to tradition. New technology, mass production and the machine age brought a promise of a new future and industrial design with new materials made affordable and stylish goods available to the whole community. Sydney was still steadfastly British in the 1930s but the international style of Art Deco made its mark in Sydney. The city is graced with some beautiful architectural examples which can be seen in Sydney Art Deco and which should be appreciated and maintained as part of Sydney's built heritage’]
Publishing details: Bakelite, 2019. 431pp
Ref: 1000

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Sydney Art Deco

Reference: Sydney Art Deco by Peter Sheridan. [’First photographic reference book on Sydney's Art Deco architecture and lifestyle in the 1930s and 1940s containing contemporary and vintage images. The book covers commercial, residential, cinemas, pubs, civic and industrial buildings with Art Deco features.’] [’For the first time, Sydney's Art Deco buildings of the 1930s and 1940s are identified and gloriously displayed with contemporary photographs alongside archival images.
Sydney Art Deco explores the impact of the Art Deco style on the landscape and life of Sydney during the 1930s and 1940s. Using contemporary and archival photos the book covers the whole gamut of moderne, functionalist and streamlined styling in the architecture of Sydney during the 1930s and 1940s. Art Deco was a global style and Sydney Art Deco explores its impact on the lifestyle of Sydneysiders with a glimpse of Australian artwork, fashion, furniture and accessories.
The time of Art Deco was a brief hiatus between two World Wars and compounded by the devastating effects of the Great Depression. Life was not always glamorous but in many ways the style ushered in a new sense of freedom for people from the Victorian era's restrictions of class and attachment to tradition. New technology, mass production and the machine age brought a promise of a new future and industrial design with new materials made affordable and stylish goods available to the whole community. Sydney was still steadfastly British in the 1930s but the international style of Art Deco made its mark in Sydney. The city is graced with some beautiful architectural examples which can be seen in Sydney Art Deco and which should be appreciated and maintained as part of Sydney's built heritage’]

Publishing details: Bakelite, 2019. 431pp

Location: 1000

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Art Decoview full entry

Reference: see Sydney Art Deco by Peter Sheridan. [’First photographic reference book on Sydney's Art Deco architecture and lifestyle in the 1930s and 1940s containing contemporary and vintage images. The book covers commercial, residential, cinemas, pubs, civic and industrial buildings with Art Deco features.’] [’For the first time, Sydney's Art Deco buildings of the 1930s and 1940s are identified and gloriously displayed with contemporary photographs alongside archival images.
Sydney Art Deco explores the impact of the Art Deco style on the landscape and life of Sydney during the 1930s and 1940s. Using contemporary and archival photos the book covers the whole gamut of moderne, functionalist and streamlined styling in the architecture of Sydney during the 1930s and 1940s. Art Deco was a global style and Sydney Art Deco explores its impact on the lifestyle of Sydneysiders with a glimpse of Australian artwork, fashion, furniture and accessories.
The time of Art Deco was a brief hiatus between two World Wars and compounded by the devastating effects of the Great Depression. Life was not always glamorous but in many ways the style ushered in a new sense of freedom for people from the Victorian era's restrictions of class and attachment to tradition. New technology, mass production and the machine age brought a promise of a new future and industrial design with new materials made affordable and stylish goods available to the whole community. Sydney was still steadfastly British in the 1930s but the international style of Art Deco made its mark in Sydney. The city is graced with some beautiful architectural examples which can be seen in Sydney Art Deco and which should be appreciated and maintained as part of Sydney's built heritage’]
Publishing details: Bakelite, 2019. 431pp

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Art Deco

Reference: see Sydney Art Deco by Peter Sheridan. [’First photographic reference book on Sydney's Art Deco architecture and lifestyle in the 1930s and 1940s containing contemporary and vintage images. The book covers commercial, residential, cinemas, pubs, civic and industrial buildings with Art Deco features.’] [’For the first time, Sydney's Art Deco buildings of the 1930s and 1940s are identified and gloriously displayed with contemporary photographs alongside archival images.
Sydney Art Deco explores the impact of the Art Deco style on the landscape and life of Sydney during the 1930s and 1940s. Using contemporary and archival photos the book covers the whole gamut of moderne, functionalist and streamlined styling in the architecture of Sydney during the 1930s and 1940s. Art Deco was a global style and Sydney Art Deco explores its impact on the lifestyle of Sydneysiders with a glimpse of Australian artwork, fashion, furniture and accessories.
The time of Art Deco was a brief hiatus between two World Wars and compounded by the devastating effects of the Great Depression. Life was not always glamorous but in many ways the style ushered in a new sense of freedom for people from the Victorian era's restrictions of class and attachment to tradition. New technology, mass production and the machine age brought a promise of a new future and industrial design with new materials made affordable and stylish goods available to the whole community. Sydney was still steadfastly British in the 1930s but the international style of Art Deco made its mark in Sydney. The city is graced with some beautiful architectural examples which can be seen in Sydney Art Deco and which should be appreciated and maintained as part of Sydney's built heritage’]

Publishing details: Bakelite, 2019. 431pp

Location:

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Borlase Nancy 1914-2016view full entry

Reference: see obituary Sydney Morning Herald, September 15, 2006: Nancy Borlase, 1914-2006, by Malcolm Brown.
Nancy Borlase, who has died at the age of 92, could not help but become an artist, despite circumstances in her early life. Driven by enthusiasm, passion and ideology, she married a Trotskyite and became a prolific painter and noted art critic.Born in Taihape, New Zealand, she was the youngest of three daughters of Bessie Morecroft and Edward Norris Borlase, the latter choosing to run off with the nursemaid. Bessie took the family to Napier where she ran a cabaret and worked as a dressmaker.Nancy, a trainee secretary, was at work on November 3, 1931, when an earthquake struck Napier, and she had to be dug out of the wreckage. She moved to Christchurch were she started her first art lessons and earned her living as a cafe fortune-teller, Madame Rosa.Borlase saw Sydney as the "mecca of South Sea art", and to raise the £10 for her fare to that mecca, she sold several paper lampshades she had made. She chose an extraordinary way to have a last look at her homeland: a solitary trek of the Lewis Pass, through a rugged part of New Zealand's South Island, the first person to do so after the surveyors.Arriving in Sydney in 1937 with £2 in her pocket, Borlase nearly crippled herself walking the streets in high-heeled shoes searching for work. She settled in William Street, East Sydney, enrolled at the East Sydney Technical College to study sculpture and worked as a waitress and artist's model. She quickly found that the bohemian community had its dark side.She was once raided by police, but no, she was not a woman of the night. "I managed to convince them that I was an innocent art student."Lacking a place to do sculpture, she decided on painting. Attracted to all forms of free expression, she went to the Domain's Speakers Corner and listened to Laurie Short expound Trotskyism. But it was another, wharf labourer and aspiring opera singer Bob Dodd, who initially attracted her.The relationship failed and in 1939 Borlase hitchhiked to Melbourne, lived next door to Sidney Nolan, befriended her benefactor John Reed and again worked as an artist's model.She co-led a models' strike for better pay and conditions. Alone and a little depressed, she bumped into Short on a street corner and the two struck up a relationship which led to their marrying on May 31, 1941.Borlase had to use a raincoat as a wedding dress. The only witness was Beryl, girlfriend of one Jim McClelland, later "Diamond Jim" of Whitlam government and judicial fame, who was at work as an ironworker and could not attend. Borlase and Short moved to Sydney and settled in Balmain, where Short worked as an assistant boilermaker. The home was next to the wharves, and Borlase painted portraits of seamen, including the dark-skinned Pacific Islanders. The two remained short of money. "Laurie was always on strike and not earning anything, and I was doing all sorts of jobs," Borlase said later. She had to scrub floors and work as a waitress at the Trocadero Cafe in the city. A daughter, Susanna, their only child, was born on August 23, 1944. In 1949, the family resettled in Gladesville, which did not suit Borlase because it lacked the vibrant creativity of Balmain. Short, with political views modified, faced his toughest battle when he stood for the position of national secretary of the Ironworkers Federation, pitching himself against the communists. Following a bitter court case, he was confirmed in 1951 as national secretary. In 1956, when Short travelled to the United States for a steelworkers' convention, Borlase went with him. Exposed to the influence of abstract expressionists such as Jackson Pollock, William de Kooning and Mark Rothko, she was inspired, moved from figurative to abstract painting, lectured on the subject and became active in the Contemporary Art Society. In January 1961 Borlase found a flat in Mosman and the couple moved there. It was to become their home for 45 years. Borlase's productivity remained high. She could see Sydney Harbour through her window and her abstract landscapes reflected leaves and water. She won the Mosman Art Prize, but success in competitions such as the Blake Prize for Religious Art eluded her. Discouraged, Borlase turned to art criticism, and did reviews for The Bulletin. In 1975 she became a critic for the The Sydney Morning Herald. In 1981, Borlase returned to painting and resumed figurative work. Some of her paintings were being hung in the National Gallery. In 1994, she received a $25,000 meritus award from the Australia Council. In 2000, she was awarded the Portia Geach Memorial Award for women artists. Borlase once said: "My life as a painter is a bit like the fable of the hare and the tortoise. It has been a long, slow haul, but I got there."
Publishing details: Sydney Morning Herald, September 15, 2006

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Borlase Nancy 1914-2016

Reference: see obituary Sydney Morning Herald, September 15, 2006: Nancy Borlase, 1914-2006, by Malcolm Brown.
Nancy Borlase, who has died at the age of 92, could not help but become an artist, despite circumstances in her early life. Driven by enthusiasm, passion and ideology, she married a Trotskyite and became a prolific painter and noted art critic.Born in Taihape, New Zealand, she was the youngest of three daughters of Bessie Morecroft and Edward Norris Borlase, the latter choosing to run off with the nursemaid. Bessie took the family to Napier where she ran a cabaret and worked as a dressmaker.Nancy, a trainee secretary, was at work on November 3, 1931, when an earthquake struck Napier, and she had to be dug out of the wreckage. She moved to Christchurch were she started her first art lessons and earned her living as a cafe fortune-teller, Madame Rosa.Borlase saw Sydney as the "mecca of South Sea art", and to raise the £10 for her fare to that mecca, she sold several paper lampshades she had made. She chose an extraordinary way to have a last look at her homeland: a solitary trek of the Lewis Pass, through a rugged part of New Zealand's South Island, the first person to do so after the surveyors.Arriving in Sydney in 1937 with £2 in her pocket, Borlase nearly crippled herself walking the streets in high-heeled shoes searching for work. She settled in William Street, East Sydney, enrolled at the East Sydney Technical College to study sculpture and worked as a waitress and artist's model. She quickly found that the bohemian community had its dark side.She was once raided by police, but no, she was not a woman of the night. "I managed to convince them that I was an innocent art student."Lacking a place to do sculpture, she decided on painting. Attracted to all forms of free expression, she went to the Domain's Speakers Corner and listened to Laurie Short expound Trotskyism. But it was another, wharf labourer and aspiring opera singer Bob Dodd, who initially attracted her.The relationship failed and in 1939 Borlase hitchhiked to Melbourne, lived next door to Sidney Nolan, befriended her benefactor John Reed and again worked as an artist's model.She co-led a models' strike for better pay and conditions. Alone and a little depressed, she bumped into Short on a street corner and the two struck up a relationship which led to their marrying on May 31, 1941.Borlase had to use a raincoat as a wedding dress. The only witness was Beryl, girlfriend of one Jim McClelland, later "Diamond Jim" of Whitlam government and judicial fame, who was at work as an ironworker and could not attend. Borlase and Short moved to Sydney and settled in Balmain, where Short worked as an assistant boilermaker. The home was next to the wharves, and Borlase painted portraits of seamen, including the dark-skinned Pacific Islanders. The two remained short of money. "Laurie was always on strike and not earning anything, and I was doing all sorts of jobs," Borlase said later. She had to scrub floors and work as a waitress at the Trocadero Cafe in the city. A daughter, Susanna, their only child, was born on August 23, 1944. In 1949, the family resettled in Gladesville, which did not suit Borlase because it lacked the vibrant creativity of Balmain. Short, with political views modified, faced his toughest battle when he stood for the position of national secretary of the Ironworkers Federation, pitching himself against the communists. Following a bitter court case, he was confirmed in 1951 as national secretary. In 1956, when Short travelled to the United States for a steelworkers' convention, Borlase went with him. Exposed to the influence of abstract expressionists such as Jackson Pollock, William de Kooning and Mark Rothko, she was inspired, moved from figurative to abstract painting, lectured on the subject and became active in the Contemporary Art Society. In January 1961 Borlase found a flat in Mosman and the couple moved there. It was to become their home for 45 years. Borlase's productivity remained high. She could see Sydney Harbour through her window and her abstract landscapes reflected leaves and water. She won the Mosman Art Prize, but success in competitions such as the Blake Prize for Religious Art eluded her. Discouraged, Borlase turned to art criticism, and did reviews for The Bulletin. In 1975 she became a critic for the The Sydney Morning Herald. In 1981, Borlase returned to painting and resumed figurative work. Some of her paintings were being hung in the National Gallery. In 1994, she received a $25,000 meritus award from the Australia Council. In 2000, she was awarded the Portia Geach Memorial Award for women artists. Borlase once said: "My life as a painter is a bit like the fable of the hare and the tortoise. It has been a long, slow haul, but I got there."

Publishing details: Sydney Morning Herald, September 15, 2006

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Wadham William Joseph 1864-1950view full entry

Reference: see MUSEUM OF AUSTRALIAN DEMOCRACY AT OLD PARLIAMENT HOUSE, website article, Wed 5 May 2010 by Michael Richards;
Australian Politicians, c. 1887 (painting)

How did Australian politicians of the nineteenth century campaign, in the days before today’s pervasive electronic media? They went to where people gathered in their daily lives, and held political meetings in gathering places such as pubs, Mechanic’s Institutes, and open air venues such as a local park or even under a particular tree. These weren’t always mass meetings. Many, possibly the majority, were of small groups of people.
The museum has recently acquired a rare picture of one such meeting in a pub, by the artist William Wadham.
The work shows two men addressing a small group of onlookers – all apparently men - and is set within a simply furnished slab-sided pub, possibly in the bush. The painting is likely to date from about 1887, when the artist appears to have been working in Victoria. One speaker is reading from a book or a pamphlet, while the other is possibly underlining his points. They look as if they are working together, and the title may refer only to them. However APMC Fellow and historian Dr John Hirst suggests that the title might refer to the entire group, and that it may be satirical. The period was one of considerable political change, leading up to the formation of the first mass unions and the industrial troubles of the 1890s. It is possible the speakers depicted here are campaigning in this context, or they might simply be involved in an election campaign.
William Joseph Wadham was born in the UK in 1864 and emigrated to Australia in 1885, first settling in Adelaide. He made a living as a prominent artist in the Adelaide art scene in the late 1800s and as a dealer, exhibiting in Brisbane, Adelaide and Melbourne, and in the UK, and travelling regularly between Australia and Europe.
Many of his Australian sales were of English scenes, and vice versa. He also worked in Western Australia and New Zealand. Although most of his recorded works are landscapes, he also painted mining scenes, and it is also possible that this work is set in a pub in a mining or industrial area, signified by the hammer on the floor. Research by the art historian Stephen Scheding suggests this work may previously have been known as ‘Tavern Scene’, but reframing in 2009 brought to light a much older title on the rear of the work – ‘Australian Politicians’.

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Wadham William Joseph 1864-1950

Reference: see MUSEUM OF AUSTRALIAN DEMOCRACY AT OLD PARLIAMENT HOUSE, website article, Wed 5 May 2010 by Michael Richards;
Australian Politicians, c. 1887 (painting)

How did Australian politicians of the nineteenth century campaign, in the days before today’s pervasive electronic media? They went to where people gathered in their daily lives, and held political meetings in gathering places such as pubs, Mechanic’s Institutes, and open air venues such as a local park or even under a particular tree. These weren’t always mass meetings. Many, possibly the majority, were of small groups of people.
The museum has recently acquired a rare picture of one such meeting in a pub, by the artist William Wadham.
The work shows two men addressing a small group of onlookers – all apparently men - and is set within a simply furnished slab-sided pub, possibly in the bush. The painting is likely to date from about 1887, when the artist appears to have been working in Victoria. One speaker is reading from a book or a pamphlet, while the other is possibly underlining his points. They look as if they are working together, and the title may refer only to them. However APMC Fellow and historian Dr John Hirst suggests that the title might refer to the entire group, and that it may be satirical. The period was one of considerable political change, leading up to the formation of the first mass unions and the industrial troubles of the 1890s. It is possible the speakers depicted here are campaigning in this context, or they might simply be involved in an election campaign.
William Joseph Wadham was born in the UK in 1864 and emigrated to Australia in 1885, first settling in Adelaide. He made a living as a prominent artist in the Adelaide art scene in the late 1800s and as a dealer, exhibiting in Brisbane, Adelaide and Melbourne, and in the UK, and travelling regularly between Australia and Europe.
Many of his Australian sales were of English scenes, and vice versa. He also worked in Western Australia and New Zealand. Although most of his recorded works are landscapes, he also painted mining scenes, and it is also possible that this work is set in a pub in a mining or industrial area, signified by the hammer on the floor. Research by the art historian Stephen Scheding suggests this work may previously have been known as ‘Tavern Scene’, but reframing in 2009 brought to light a much older title on the rear of the work – ‘Australian Politicians’.

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Holeschview full entry

Reference: Holesch 1910-1983 Horse Paintings
Publishing details: Published by: Austrascope, South Yarra 1989, 56 pp. Black-and-white illustrations in the text; colour plates
Ref: 1000

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Holesch

Reference: Holesch 1910-1983 Horse Paintings

Publishing details: Published by: Austrascope, South Yarra 1989, 56 pp. Black-and-white illustrations in the text; colour plates

Location: 1000

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Rubuntja Wentenview full entry

Reference: The Town Grew Up Dancing: The Life and Art of Wenten Rubuntja with Jenny Green. With contributions from Tim Rowse
Published by: IAD Press, Alice Springs 2002
Publishing details: IAD Press, Alice Springs 2002. 196 pp. Colour and b/w illustrations in the text, including maps, photos and artworks. Includes notes, bibliography, historical outline, notes on skin names, index, and list of maps.
Ref: 1000

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Rubuntja Wenten

Reference: The Town Grew Up Dancing: The Life and Art of Wenten Rubuntja with Jenny Green. With contributions from Tim Rowse
Published by: IAD Press, Alice Springs 2002

Publishing details: IAD Press, Alice Springs 2002. 196 pp. Colour and b/w illustrations in the text, including maps, photos and artworks. Includes notes, bibliography, historical outline, notes on skin names, index, and list of maps.

Location: 1000

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Troedel Charles publisherview full entry

Reference: The Melbourne album. Containing a series of views of Melbourne & country districts.Respectfully dedicated to, and patronized by His Excellency Sir Charles Darling, K.C.B.. by the lithographer and publisher, Charles Troedel. 73, Collins St. E. Melbourne.
[From Douglas Stewart Fine Books:
‘One of the great Australian colourplate books, ‘perhaps the finest work of urban topography produced in Australia in the nineteenth century’ (Wantrup).
Troedel’s Melbourne Album was originally issued in twelve monthly parts, the first advertisement for subscribers was placed in the Argus on 25 July 1863 and the last issue finished in November 1864 (Butler). No set in the original wrappers is known to still exist. Each part contained two lithographs, and later in 1864 a bound version was published with all twenty-four lithographs. Later that year or shortly thereafter, a shortened version of twelve images was issued, as offered here. The composition of the plates in the shortened version varies per copy, and some bear variant imprints. The lithographs were prepared by noted lithographers Cogne and Gilks, amongst others, after original paintings by Nicholas Chevalier, Eugene von Guerrard, Henry Gritten and others. Two plates are after original photographs by Nettleton and Morris, and two plates depict Aboriginal subjects.
The plates included in this set are:
1 Queens Wharf. (Yarra Yarra 1864). Inscribed in plate lower left : F. Cogné drawn & lith.
2 Merry Creek. (Plenty Ranges. 1864)
3 Elizabeth Street. (1864). Inscribed in plate lower left : Ed. Gilks, lith. Inscribed in plate lower centre : Nettleton, photo.
4 View from Studley Park. (1864)
5 Flinders Street. From the Melbourne Railway Station. Inscribed in plate lower right : Ed. Gilks, lith. Inscribed in plate lower left : A. Morris & Co., photo.
6 View of the Upper Mitta Mitta. From an oil painting by E. von Guerrard, the property of F. Kawerau. Esqr.
7 View on Eastern Hill (from a half way house, Albert Street.) Inscribed in plate lower centre : H. Gritten, pinx..
8 St. Kilda. From Kenny’s Bath
9 The Eastern Market from top of Whittington Tavern. Signed in plate lower left :J. B. Philp lithogr. Inscribed in plate lower right : Hy. Gritten Del.
10 Wentworth River Diggings Gipps Land. From a picture by N. Chevalier.
11 Nicholson Street. (Fitzroy).
12 Mount Abrupt and The Grampians. From a painting by N. Chevalier. Signed with the artist’s monogram in the image lower centre.
A fine illustrated record of colonial Melbourne during the boom of the gold rush.
Ferguson, 17323-17326, Wantrup 262c; Butler, Roger, Printed images in Colonial Australia 1801 – 1901, pp. 167 – 172 (illustrated)’]


Publishing details: Melbourne : Charles Troedel, circa 1864. Oblong folio, twelve fine tinted lithographs of Melbourne and regional Victoria,
Ref: 1000

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Troedel Charles publisher

Reference: The Melbourne album. Containing a series of views of Melbourne & country districts.Respectfully dedicated to, and patronized by His Excellency Sir Charles Darling, K.C.B.. by the lithographer and publisher, Charles Troedel. 73, Collins St. E. Melbourne.
[From Douglas Stewart Fine Books:
‘One of the great Australian colourplate books, ‘perhaps the finest work of urban topography produced in Australia in the nineteenth century’ (Wantrup).
Troedel’s Melbourne Album was originally issued in twelve monthly parts, the first advertisement for subscribers was placed in the Argus on 25 July 1863 and the last issue finished in November 1864 (Butler). No set in the original wrappers is known to still exist. Each part contained two lithographs, and later in 1864 a bound version was published with all twenty-four lithographs. Later that year or shortly thereafter, a shortened version of twelve images was issued, as offered here. The composition of the plates in the shortened version varies per copy, and some bear variant imprints. The lithographs were prepared by noted lithographers Cogne and Gilks, amongst others, after original paintings by Nicholas Chevalier, Eugene von Guerrard, Henry Gritten and others. Two plates are after original photographs by Nettleton and Morris, and two plates depict Aboriginal subjects.
The plates included in this set are:
1 Queens Wharf. (Yarra Yarra 1864). Inscribed in plate lower left : F. Cogné drawn & lith.
2 Merry Creek. (Plenty Ranges. 1864)
3 Elizabeth Street. (1864). Inscribed in plate lower left : Ed. Gilks, lith. Inscribed in plate lower centre : Nettleton, photo.
4 View from Studley Park. (1864)
5 Flinders Street. From the Melbourne Railway Station. Inscribed in plate lower right : Ed. Gilks, lith. Inscribed in plate lower left : A. Morris & Co., photo.
6 View of the Upper Mitta Mitta. From an oil painting by E. von Guerrard, the property of F. Kawerau. Esqr.
7 View on Eastern Hill (from a half way house, Albert Street.) Inscribed in plate lower centre : H. Gritten, pinx..
8 St. Kilda. From Kenny’s Bath
9 The Eastern Market from top of Whittington Tavern. Signed in plate lower left :J. B. Philp lithogr. Inscribed in plate lower right : Hy. Gritten Del.
10 Wentworth River Diggings Gipps Land. From a picture by N. Chevalier.
11 Nicholson Street. (Fitzroy).
12 Mount Abrupt and The Grampians. From a painting by N. Chevalier. Signed with the artist’s monogram in the image lower centre.
A fine illustrated record of colonial Melbourne during the boom of the gold rush.
Ferguson, 17323-17326, Wantrup 262c; Butler, Roger, Printed images in Colonial Australia 1801 – 1901, pp. 167 – 172 (illustrated)’]

Publishing details: Melbourne : Charles Troedel, circa 1864. Oblong folio, twelve fine tinted lithographs of Melbourne and regional Victoria,

Location: 1000

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