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Gertsakis Elizabeth view full entry

Reference: see Post-hybrid : reimagining the Australian self. This publication supports the exhibition 'Post-hybrid : reimagining the Australian self' 5 June - 6 September 2015. “Post-hybrid: reimagining the Australian self” features work by WA artists Abdul-Rahman Abdullah, Hans Arkeveld, Galliano Fardin, Laurel Nannup and Christopher Pease.
Works by Australian artists Abdul Abdullah, Dadang Christanto, Lorraine Connelly-Northey, Brenda Croft, Elizabeth Gertsakis, Danie Mellor, Ryan Presley and Darren Siwes also feature in the exhibition.

Publishing details: Bentley, Western Australia : John Curtin Gallery, Aug. 2015 
©2015 
15 pages : colour illustrations

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Gertsakis Elizabeth

Reference: see Post-hybrid : reimagining the Australian self. This publication supports the exhibition 'Post-hybrid : reimagining the Australian self' 5 June - 6 September 2015. “Post-hybrid: reimagining the Australian self” features work by WA artists Abdul-Rahman Abdullah, Hans Arkeveld, Galliano Fardin, Laurel Nannup and Christopher Pease.
Works by Australian artists Abdul Abdullah, Dadang Christanto, Lorraine Connelly-Northey, Brenda Croft, Elizabeth Gertsakis, Danie Mellor, Ryan Presley and Darren Siwes also feature in the exhibition.

Publishing details: Bentley, Western Australia : John Curtin Gallery, Aug. 2015 
©2015 
15 pages : colour illustrations

Location:

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Mellor Danie view full entry

Reference: see Post-hybrid : reimagining the Australian self. This publication supports the exhibition 'Post-hybrid : reimagining the Australian self' 5 June - 6 September 2015. “Post-hybrid: reimagining the Australian self” features work by WA artists Abdul-Rahman Abdullah, Hans Arkeveld, Galliano Fardin, Laurel Nannup and Christopher Pease.
Works by Australian artists Abdul Abdullah, Dadang Christanto, Lorraine Connelly-Northey, Brenda Croft, Elizabeth Gertsakis, Danie Mellor, Ryan Presley and Darren Siwes also feature in the exhibition.

Publishing details: Bentley, Western Australia : John Curtin Gallery, Aug. 2015 
©2015 
15 pages : colour illustrations

×

Mellor Danie

Reference: see Post-hybrid : reimagining the Australian self. This publication supports the exhibition 'Post-hybrid : reimagining the Australian self' 5 June - 6 September 2015. “Post-hybrid: reimagining the Australian self” features work by WA artists Abdul-Rahman Abdullah, Hans Arkeveld, Galliano Fardin, Laurel Nannup and Christopher Pease.
Works by Australian artists Abdul Abdullah, Dadang Christanto, Lorraine Connelly-Northey, Brenda Croft, Elizabeth Gertsakis, Danie Mellor, Ryan Presley and Darren Siwes also feature in the exhibition.

Publishing details: Bentley, Western Australia : John Curtin Gallery, Aug. 2015 
©2015 
15 pages : colour illustrations

Location:

Close

Presley Ryan view full entry

Reference: see Post-hybrid : reimagining the Australian self. This publication supports the exhibition 'Post-hybrid : reimagining the Australian self' 5 June - 6 September 2015. “Post-hybrid: reimagining the Australian self” features work by WA artists Abdul-Rahman Abdullah, Hans Arkeveld, Galliano Fardin, Laurel Nannup and Christopher Pease.
Works by Australian artists Abdul Abdullah, Dadang Christanto, Lorraine Connelly-Northey, Brenda Croft, Elizabeth Gertsakis, Danie Mellor, Ryan Presley and Darren Siwes also feature in the exhibition.

Publishing details: Bentley, Western Australia : John Curtin Gallery, Aug. 2015 
©2015 
15 pages : colour illustrations

×

Presley Ryan

Reference: see Post-hybrid : reimagining the Australian self. This publication supports the exhibition 'Post-hybrid : reimagining the Australian self' 5 June - 6 September 2015. “Post-hybrid: reimagining the Australian self” features work by WA artists Abdul-Rahman Abdullah, Hans Arkeveld, Galliano Fardin, Laurel Nannup and Christopher Pease.
Works by Australian artists Abdul Abdullah, Dadang Christanto, Lorraine Connelly-Northey, Brenda Croft, Elizabeth Gertsakis, Danie Mellor, Ryan Presley and Darren Siwes also feature in the exhibition.

Publishing details: Bentley, Western Australia : John Curtin Gallery, Aug. 2015 
©2015 
15 pages : colour illustrations

Location:

Close

Siwes Darren view full entry

Reference: see Post-hybrid : reimagining the Australian self. This publication supports the exhibition 'Post-hybrid : reimagining the Australian self' 5 June - 6 September 2015. “Post-hybrid: reimagining the Australian self” features work by WA artists Abdul-Rahman Abdullah, Hans Arkeveld, Galliano Fardin, Laurel Nannup and Christopher Pease.
Works by Australian artists Abdul Abdullah, Dadang Christanto, Lorraine Connelly-Northey, Brenda Croft, Elizabeth Gertsakis, Danie Mellor, Ryan Presley and Darren Siwes also feature in the exhibition.

Publishing details: Bentley, Western Australia : John Curtin Gallery, Aug. 2015 
©2015 
15 pages : colour illustrations

×

Siwes Darren

Reference: see Post-hybrid : reimagining the Australian self. This publication supports the exhibition 'Post-hybrid : reimagining the Australian self' 5 June - 6 September 2015. “Post-hybrid: reimagining the Australian self” features work by WA artists Abdul-Rahman Abdullah, Hans Arkeveld, Galliano Fardin, Laurel Nannup and Christopher Pease.
Works by Australian artists Abdul Abdullah, Dadang Christanto, Lorraine Connelly-Northey, Brenda Croft, Elizabeth Gertsakis, Danie Mellor, Ryan Presley and Darren Siwes also feature in the exhibition.

Publishing details: Bentley, Western Australia : John Curtin Gallery, Aug. 2015 
©2015 
15 pages : colour illustrations

Location:

Close

I want changeview full entry

Reference: I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013
Ref: 1000

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I want change

Reference: I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location: 1000

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Andrew Brookview full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Andrew Brook

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

Close

Agzarian Michael view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Agzarian Michael

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

Close

Begg Zanny view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Begg Zanny

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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boat-people.org view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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boat-people.org

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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Cole Bindi view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Cole Bindi

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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Dodd James view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Dodd James

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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Foley Fiona view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Foley Fiona

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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Jamin view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Jamin

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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Keating Ash view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Keating Ash

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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Kelly Deborah view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Kelly Deborah

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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McLennan Azlan view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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McLennan Azlan

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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MEEK view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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MEEK

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

Location:

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Rudd Van view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Rudd Van

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Scrase Carl view full entry

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]
Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Scrase Carl

Reference: see I WANT CHANGE: Two decades of artistic defiance, disapproval and dissent.’ [’A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current day. The War on Terror, our treatment of refugees, the environment, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change takes a snapshot of these issues and the often public, performative and socially engaging working embraced by artists to voice their protest, criticism and concern.’]

Publishing details: Latrobe University Gallery, Australia, 20 February – 12 April, 2013

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Beevors Michele view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Beevors Michele

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Lofts Pamela view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Lofts Pamela

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

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Neil Anne view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Neil Anne

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Fitzmaurice Melanie view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Fitzmaurice Melanie

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Bradley Jacqueline view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Bradley Jacqueline

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Bowak Rachel view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Bowak Rachel

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

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Scheuerle Simon view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Scheuerle Simon

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

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Lewis Owen view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Lewis Owen

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Pratt Louis view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Pratt Louis

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

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Lucas Noelene view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Lucas Noelene

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Serisier Camilleview full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Serisier Camille

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Bliss Joel view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Bliss Joel

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Kochel Jay view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Kochel Jay

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

Publishing details: ANU, 2013,

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Stuart Amandaview full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Stuart Amanda

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

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Van der Mark Peter view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Van der Mark Peter

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

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Simic Anna view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Simic Anna

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

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Gilbert Cristy .view full entry

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded
Publishing details: ANU, 2013,

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Gilbert Cristy .

Reference: Making Tracks - An exhibition by alumni from the ANU School of Art Sculpture Workshop. 17 artists inclded

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Allen Davidaview full entry

Reference: Davida Allen : survey exhibition, 24th October-5th December 1987 / edited by Annette Hughes ; photography, David Sandison. Catalogue essay by Atherton Nye. Bibliography: p. 72.
Publishing details: Brisbane : Museum of Contemporary Art, 1987 
74 p. : ill. (some col.),

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Allen Davida

Reference: Davida Allen : survey exhibition, 24th October-5th December 1987 / edited by Annette Hughes ; photography, David Sandison. Catalogue essay by Atherton Nye. Bibliography: p. 72.

Publishing details: Brisbane : Museum of Contemporary Art, 1987 
74 p. : ill. (some col.),

Location: 0

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Roet Lisaview full entry

Reference: Lisa Roet : finger of suspicion : McClelland Gallery + Sculpture Park 10 October - 5 December 2004 / Lisa Roet. Catalogue of an exhibiton held at the McClelland Gallery + Sculpture Park 10 October - 5 December 2004.
Catalogue essay by Penny Teale.
Includes bibliographical references.
Publishing details: Langwarrin, Vic. : McClelland Gallery + Sculpture Park, 2004 
1 folded sheet (8) p. : ill. (some col.)
Ref: 1000

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Roet Lisa

Reference: Lisa Roet : finger of suspicion : McClelland Gallery + Sculpture Park 10 October - 5 December 2004 / Lisa Roet. Catalogue of an exhibiton held at the McClelland Gallery + Sculpture Park 10 October - 5 December 2004.
Catalogue essay by Penny Teale.
Includes bibliographical references.

Publishing details: Langwarrin, Vic. : McClelland Gallery + Sculpture Park, 2004 
1 folded sheet (8) p. : ill. (some col.)

Location: 1000

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Aboriginal Artview full entry

Reference: see Urban focus: Aboriginal & Torres Strait Islander art in urban areas of Australia
Publishing details: ANG, 1994, 8p. col. ill.

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Aboriginal Art

Reference: see Urban focus: Aboriginal & Torres Strait Islander art in urban areas of Australia

Publishing details: ANG, 1994, 8p. col. ill.

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Baker Nyukana (Daisy)view full entry

Reference: Nyukana (Daisy) Baker : a retrospective / [exhibition curated by Diana Young] [’Baker was born in November 1943, after her Pitjantjatjara parents came to the newly established Ernabella Mission, and she is probably the first indigenous woman to spend her entire working life making a living as a professional artist. Features works that span Baker's entire career, including batik, paintings, ceramics, floor rugs, prints, childhood drawings, wood carving, basketry and bead work.
Notes Essay by Diana Young.
Catalogue of an exhibition held at JamFactory Contemporray Craft and Design, Adelaide, 1 August-6 September, 2009.’]

Publishing details: Adelaide : Jamfactory Contemporary Craft And Design, 2009 
23 p. : col. ill., col. ports
Ref: 1000

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Baker Nyukana (Daisy)

Reference: Nyukana (Daisy) Baker : a retrospective / [exhibition curated by Diana Young] [’Baker was born in November 1943, after her Pitjantjatjara parents came to the newly established Ernabella Mission, and she is probably the first indigenous woman to spend her entire working life making a living as a professional artist. Features works that span Baker's entire career, including batik, paintings, ceramics, floor rugs, prints, childhood drawings, wood carving, basketry and bead work.
Notes Essay by Diana Young.
Catalogue of an exhibition held at JamFactory Contemporray Craft and Design, Adelaide, 1 August-6 September, 2009.’]

Publishing details: Adelaide : Jamfactory Contemporary Craft And Design, 2009 
23 p. : col. ill., col. ports

Location: 1000

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Siwes Darren view full entry

Reference: Darren Siwes : Dalabon Biyi / Dalabon Dalok : 21 Septembber - 16 October 2011
by Siwes, Darren, 1968-

Publishing details: Kent Town, S. Aust : Greenaway Art Gallery, 2011
Ref: 1000

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Siwes Darren

Reference: Darren Siwes : Dalabon Biyi / Dalabon Dalok : 21 Septembber - 16 October 2011
by Siwes, Darren, 1968-

Publishing details: Kent Town, S. Aust : Greenaway Art Gallery, 2011

Location: 1000

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Siwes Darren view full entry

Reference: Darren Siwes : Mum, I want to be brown
by Siwes, Darren, 1968-

Publishing details: Adelaide : Greenaway Art Gallery, 2006
Ref: 1000

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Siwes Darren

Reference: Darren Siwes : Mum, I want to be brown
by Siwes, Darren, 1968-

Publishing details: Adelaide : Greenaway Art Gallery, 2006

Location: 1000

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Siwes Darren view full entry

Reference: Mis/perceptions, May 2001 / Darren Siwes
by Siwes, Darren, 1968-

Publishing details: Adelaide : Greenaway Art Gallery,
Ref: 1000

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Siwes Darren

Reference: Mis/perceptions, May 2001 / Darren Siwes
by Siwes, Darren, 1968-

Publishing details: Adelaide : Greenaway Art Gallery,

Location: 1000

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Siwes Darren view full entry

Reference: Darren Siwes - Just is
Publishing details: Nellie Castan Gallery 2005
Ref: 1000

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Siwes Darren

Reference: Darren Siwes - Just is

Publishing details: Nellie Castan Gallery 2005

Location: 1000

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Austin Daryl view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Austin Daryl

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Barbour John view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Barbour John

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Bezor Annette view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Bezor Annette

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Bradley Matthew view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Bradley Matthew

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Collett Annabelle view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Collett Annabelle

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Cornish Tracy view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Cornish Tracy

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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crowEST Sarah view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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crowEST Sarah

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Cumpston Nici view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Cumpston Nici

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Hall Fiona view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

×

Hall Fiona

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Hassan Ariel view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

×

Hassan Ariel

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Iacobelli Aldo view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Iacobelli Aldo

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Nikou Michelle view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

×

Nikou Michelle

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Scarce Yhonnie view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

×

Scarce Yhonnie

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Sleeman Deborah view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

×

Sleeman Deborah

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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Valamanesh Hossein .view full entry

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.
Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

×

Valamanesh Hossein .

Reference: see Uneasy : recent South Australian art : an exhibition / by Timothy Morrell. Catalogue of the exhibition held 20 June-17 Aug., 2008, at the Anne & Gordon Samstag Museum of Art, Adelaide.

Publishing details: Adelaide : Anne & Gordon Samstag Museum of Art, University of South Australia, [2008] 
47 p. : col. ill.

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In yer faceview full entry

Reference: In yer face: the Bald Archy Prize / Peter Batey & Fran Henke. The Bald Archy Prize. Australia's best loved and only satiric portrait prize. Judged by a sulphur-crested cockatoo named Maude.
Notes ""The exhibition that gets people into galleries they've never been in before" - The Canberra Times"
Publishing details: Hastings, Victoria: Flying Pony Press, [2015] 77 pages : colour illustrations, plates
Ref: 1000

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In yer face

Reference: In yer face: the Bald Archy Prize / Peter Batey & Fran Henke. The Bald Archy Prize. Australia's best loved and only satiric portrait prize. Judged by a sulphur-crested cockatoo named Maude.
Notes ""The exhibition that gets people into galleries they've never been in before" - The Canberra Times"

Publishing details: Hastings, Victoria: Flying Pony Press, [2015] 77 pages : colour illustrations, plates

Location: 1000

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Bald Archy Prizeview full entry

Reference: see In yer face: the Bald Archy Prize / Peter Batey & Fran Henke. The Bald Archy Prize. Australia's best loved and only satiric portrait prize. Judged by a sulphur-crested cockatoo named Maude.
Notes ""The exhibition that gets people into galleries they've never been in before" - The Canberra Times"
Publishing details: Hastings, Victoria: Flying Pony Press, [2015] 77 pages : colour illustrations, plates

×

Bald Archy Prize

Reference: see In yer face: the Bald Archy Prize / Peter Batey & Fran Henke. The Bald Archy Prize. Australia's best loved and only satiric portrait prize. Judged by a sulphur-crested cockatoo named Maude.
Notes ""The exhibition that gets people into galleries they've never been in before" - The Canberra Times"

Publishing details: Hastings, Victoria: Flying Pony Press, [2015] 77 pages : colour illustrations, plates

Location:

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portraits in Australiaview full entry

Reference: see In yer face: the Bald Archy Prize / Peter Batey & Fran Henke. The Bald Archy Prize. Australia's best loved and only satiric portrait prize. Judged by a sulphur-crested cockatoo named Maude.
Notes ""The exhibition that gets people into galleries they've never been in before" - The Canberra Times"
Publishing details: Hastings, Victoria: Flying Pony Press, [2015] 77 pages : colour illustrations, plates

×

portraits in Australia

Reference: see In yer face: the Bald Archy Prize / Peter Batey & Fran Henke. The Bald Archy Prize. Australia's best loved and only satiric portrait prize. Judged by a sulphur-crested cockatoo named Maude.
Notes ""The exhibition that gets people into galleries they've never been in before" - The Canberra Times"

Publishing details: Hastings, Victoria: Flying Pony Press, [2015] 77 pages : colour illustrations, plates

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Wooley Charles A (1834-1922)view full entry

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Charles A. Wooley (1834-1922) worked from a studio in Macquarie Street Hobart from 1859 to 1870 and is perhaps best known for his photographic portraits of the last surviving Tasmanian Aborigines exhibited in 1866 at the Melbourne Intercolonial Exhibition. His photo portrait of William Lanne, the last surviving full-blood male Tasmanian Aborigine, records him at about age twenty-six. Lanne died in 1869 and his body was desecrated in the name of medical science. Similarly, he photographed Truganini who on her death in 1876 was long thought to be the last surviving full-blood Aboriginal Tasmanian.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.
Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

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Wooley Charles A (1834-1922)

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Charles A. Wooley (1834-1922) worked from a studio in Macquarie Street Hobart from 1859 to 1870 and is perhaps best known for his photographic portraits of the last surviving Tasmanian Aborigines exhibited in 1866 at the Melbourne Intercolonial Exhibition. His photo portrait of William Lanne, the last surviving full-blood male Tasmanian Aborigine, records him at about age twenty-six. Lanne died in 1869 and his body was desecrated in the name of medical science. Similarly, he photographed Truganini who on her death in 1876 was long thought to be the last surviving full-blood Aboriginal Tasmanian.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.

Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

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Lindt John William (1845 -1926) view full entry

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
John William Lindt (1845 -1926) was born in Frankfurt Germany and as a boy seeking adventure ran off to sea as a seventeen-year-old. He deserted ship in Brisbane before making his way down the coast to Grafton on the Clarence River where he found employment in a photographic studio. In 1867 he returned to Germany briefly but was soon back in Australia to buy out his former employer’s photography business. In 1875 and 1876 Lindt staged atmospheric studio shots of the local Aborigines from the Clarence River District which he mounted and sold as album collections. In 1876 he relocated to Melbourne finding fame in 1880 when he photographed the capture of the notorious ‘Kelly Gang.’ Lindt was honoured in 1885 with the role as the official photographer on a Government Expedition to New Guinea before going on to photograph the New Hebrides in 1890 and Fiji in 1892. Unfortunately, his studio business succumbed to the great financial depression that rocked the Australian colonies in 1893 and he ‘retired’ to a new property ‘the Hermitage’ he had built at Blacks Spur. He died there in 1926 in the catastrophic bushfires that engulfed his property.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.
Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

×

Lindt John William (1845 -1926) 

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
John William Lindt (1845 -1926) was born in Frankfurt Germany and as a boy seeking adventure ran off to sea as a seventeen-year-old. He deserted ship in Brisbane before making his way down the coast to Grafton on the Clarence River where he found employment in a photographic studio. In 1867 he returned to Germany briefly but was soon back in Australia to buy out his former employer’s photography business. In 1875 and 1876 Lindt staged atmospheric studio shots of the local Aborigines from the Clarence River District which he mounted and sold as album collections. In 1876 he relocated to Melbourne finding fame in 1880 when he photographed the capture of the notorious ‘Kelly Gang.’ Lindt was honoured in 1885 with the role as the official photographer on a Government Expedition to New Guinea before going on to photograph the New Hebrides in 1890 and Fiji in 1892. Unfortunately, his studio business succumbed to the great financial depression that rocked the Australian colonies in 1893 and he ‘retired’ to a new property ‘the Hermitage’ he had built at Blacks Spur. He died there in 1926 in the catastrophic bushfires that engulfed his property.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.

Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

Location:

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Ehlers Carl (active 1880s) view full entry

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Carl Ehlers (active 1880s) was another German-born photographer who chose Prince Street Grafton to set up a photography studio. But, unlike Lindt’s staged studio shots, Ehlers concentrated more on capturing the actual life circumstances of the Aborigines preferring to record them in their natural environment or in camp settings. His photographs are a truer representation of the dispossession of the native population when forced to live on the cusp of civilisation.
Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.
Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

×

Ehlers Carl (active 1880s) 

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Carl Ehlers (active 1880s) was another German-born photographer who chose Prince Street Grafton to set up a photography studio. But, unlike Lindt’s staged studio shots, Ehlers concentrated more on capturing the actual life circumstances of the Aborigines preferring to record them in their natural environment or in camp settings. His photographs are a truer representation of the dispossession of the native population when forced to live on the cusp of civilisation.
Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.

Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

Location:

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Foelsche Paul (1831- 1914)view full entry

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Paul Foelsche (1831- 1914) was born near Hamburg Germany and migrated to South Australia in 1854 perhaps drawn by the lure of gold. However, instead of racing off to the Victorian Goldfields like so many others he instead signed up to become a State Trooper bringing him into contact for the first time with the local Aborigines for whom it was said he have developed an affinity. He was an exceptional police officer and in 1869 he was transferred to Palmerston in the Northern Territory as the sub-Inspector of the Northern Territory Mounted Police rising to Inspector in 1876.
Foelsche understood the difficulties of applying British justice to the native population and undertook ”a systematic study of Aboriginal customs and language. On 2 August 1881 his authoritative paper, ‘Notes on the Aborigines of North Australia’, was read to the Royal Society of South Australia.” (ADB)
Perhaps acknowledging that “a picture paints a thousand words” Foelsche embraced the new art of photography and by 1873 he was recognised as the leading photographer in the Northern Territory. He drew critical praise for ethnographic photographs of the Territory’s Aboriginal tribes even receiving a gold watch from the German Kaiser as a reward for his photography.
However, historical revisionists have unearthed chilling accounts of the heavy-handed justice he meted out on the native population and so his staged portrait shots of Aborigines, who sit stony-faced, appear more menacing when viewed through a more critical lens. In one photograph on offer you can clearly see that the subject is manacled.
At the turn of the 19th Century two of Sydney’s most prolific photographic studios were run by Charles Kerry and Henry King, who in tandem set out to capture with their lens ethnographic portrait studies of Australian Aborigines in the field and in staged studio shots.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.
Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

×

Foelsche Paul (1831- 1914)

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Paul Foelsche (1831- 1914) was born near Hamburg Germany and migrated to South Australia in 1854 perhaps drawn by the lure of gold. However, instead of racing off to the Victorian Goldfields like so many others he instead signed up to become a State Trooper bringing him into contact for the first time with the local Aborigines for whom it was said he have developed an affinity. He was an exceptional police officer and in 1869 he was transferred to Palmerston in the Northern Territory as the sub-Inspector of the Northern Territory Mounted Police rising to Inspector in 1876.
Foelsche understood the difficulties of applying British justice to the native population and undertook ”a systematic study of Aboriginal customs and language. On 2 August 1881 his authoritative paper, ‘Notes on the Aborigines of North Australia’, was read to the Royal Society of South Australia.” (ADB)
Perhaps acknowledging that “a picture paints a thousand words” Foelsche embraced the new art of photography and by 1873 he was recognised as the leading photographer in the Northern Territory. He drew critical praise for ethnographic photographs of the Territory’s Aboriginal tribes even receiving a gold watch from the German Kaiser as a reward for his photography.
However, historical revisionists have unearthed chilling accounts of the heavy-handed justice he meted out on the native population and so his staged portrait shots of Aborigines, who sit stony-faced, appear more menacing when viewed through a more critical lens. In one photograph on offer you can clearly see that the subject is manacled.
At the turn of the 19th Century two of Sydney’s most prolific photographic studios were run by Charles Kerry and Henry King, who in tandem set out to capture with their lens ethnographic portrait studies of Australian Aborigines in the field and in staged studio shots.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.

Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

Location:

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Kerry Charles (1858 -1928)view full entry

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Charles Kerry (1858 -1928) started out in photography in a carte-de-viste business in Sydney specialising in scenic views of rural and urban Australia. He went on to establish Kerry & Co. in 1892 and by the late 1890s had become the eminent photographic studio in Sydney. By 1910 his studio was Australia’s largest publisher of postcards which although they were produced in commercial quantities have become iconic collectables through the years. His 1908 photographs of the Burns v Johnson World Heavyweight Boxing Match at Sydney’s Rushcutters Bay brought him International acclaim, but it is his studio portraits of Aborigines and their rites of passage that are his emblematic works. These studies were produced from the 1890s through to 1917.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.
Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

×

Kerry Charles (1858 -1928)

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Charles Kerry (1858 -1928) started out in photography in a carte-de-viste business in Sydney specialising in scenic views of rural and urban Australia. He went on to establish Kerry & Co. in 1892 and by the late 1890s had become the eminent photographic studio in Sydney. By 1910 his studio was Australia’s largest publisher of postcards which although they were produced in commercial quantities have become iconic collectables through the years. His 1908 photographs of the Burns v Johnson World Heavyweight Boxing Match at Sydney’s Rushcutters Bay brought him International acclaim, but it is his studio portraits of Aborigines and their rites of passage that are his emblematic works. These studies were produced from the 1890s through to 1917.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.

Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

Location:

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King Henry (1855-1923)view full entry

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Henry King (1855-1923) was an infant when he emigrated to Australia in 1857 with his parents. He was apprenticed to the Sydney photographer J. Herbert Newman before going on to establish his own studio in partnership with William Slade in 1879.  King was acclaimed as a portrait and landscape photographer realising International recognition with a Bronze Medal for Photography at the 1893 Chicago ‘World’s Fair.’ Like Kerry, King was fascinated with the visage of the Australian Aborigine and travelled New South Wales and Queensland in search of subjects to photograph.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.
Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

×

King Henry (1855-1923)

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
Henry King (1855-1923) was an infant when he emigrated to Australia in 1857 with his parents. He was apprenticed to the Sydney photographer J. Herbert Newman before going on to establish his own studio in partnership with William Slade in 1879.  King was acclaimed as a portrait and landscape photographer realising International recognition with a Bronze Medal for Photography at the 1893 Chicago ‘World’s Fair.’ Like Kerry, King was fascinated with the visage of the Australian Aborigine and travelled New South Wales and Queensland in search of subjects to photograph.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.

Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021

Location:

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Tyrrell James (1875-1961)view full entry

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
James Tyrrell (1875-1961) was a Sydney based publisher and bookseller whose customers included Henry Lawson and Norman Lindsay. The American authors Mark Twain and Robert Louis Stephenson are also known to have frequented Tyrrell’s Bookshop when visiting Sydney. In 1914 Tyrrell opened a bookshop at 143 Castlereagh Street, Sydney that also included a museum that housed his eponymous collection of Australiana.
Tyrell acquired over 6,500 glass negatives from the ‘Kerry’ and ‘King’ studios on their closure along with their working stock of sepia prints. As well as selling the sepia prints he had acquired, Tyrell used the glass negatives sparingly in the 1920s and 30s to produce black and white reprints which were also offered for sale in his bookshops. The business moved several times through the years and so it is possible to date the reprints from the Company stamps on the back.
The glass negatives were eventually purchased by Consolidated Press who donated them to the Powerhouse Museum where they are held today.
Smalls Auction Sale 47 offers a truly outstanding compilation that records the dire circumstance of the Australian Aborigine.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.
Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021
Australia

×

Tyrrell James (1875-1961)

Reference: from Smalls Auctions Bulletin - Sale 47
Reflections of a Dark Past, emailed 13.8.2019:
James Tyrrell (1875-1961) was a Sydney based publisher and bookseller whose customers included Henry Lawson and Norman Lindsay. The American authors Mark Twain and Robert Louis Stephenson are also known to have frequented Tyrrell’s Bookshop when visiting Sydney. In 1914 Tyrrell opened a bookshop at 143 Castlereagh Street, Sydney that also included a museum that housed his eponymous collection of Australiana.
Tyrell acquired over 6,500 glass negatives from the ‘Kerry’ and ‘King’ studios on their closure along with their working stock of sepia prints. As well as selling the sepia prints he had acquired, Tyrell used the glass negatives sparingly in the 1920s and 30s to produce black and white reprints which were also offered for sale in his bookshops. The business moved several times through the years and so it is possible to date the reprints from the Company stamps on the back.
The glass negatives were eventually purchased by Consolidated Press who donated them to the Powerhouse Museum where they are held today.
Smalls Auction Sale 47 offers a truly outstanding compilation that records the dire circumstance of the Australian Aborigine.

Smalls Auction Sale 47 will go online on Friday 16th August offering a rare photographic history of Australia’s Indigenous population spanning the years 1866 to 1917.  Most are ethnographic portrait studies taken in studio settings or ‘in situ’ by some of the leading Australian photographers of their day. Names such as Wooley, Lindt, Ehlers, Foelsche, Kerry and King set out to capture the essence of the Australian Aborigine for a scientific as well as voyeuristic clientele. The photographs of Kerry and King were distributed to a far broader audience by the publisher James Tyrell who purchased the glass negatives and working stock of their studios on their closure selling reprints of their works through his various bookshops.

Publishing details: Smalls Auctions
452 Oxford St
Paddington, NSW 2021
Australia

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Nhon Le Thanhview full entry

Reference: see Austlit website: Le Thanh Nhon i(4 works by) Born: 1940 Vietnam ; Died: 2002 Melbourne, Victoria, make, Heritage: Vietnamese.
Le Thanh Nhon was a major Vietnamese sculptor and established an international reputation while still in his 20s. He lectured in fine arts at Saigon universities. When Saigon fell in 1975, he and his family fled by boat and were granted asylum in Australia. Nhon became a tram conductor in Melbourne, and also illustrated children's books. He also continued sculpting. Nhon's tram conductor's uniform and his art have been on display at the National Gallery of Australia. Hung Le [comedian] is his son.

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Nhon Le Thanh

Reference: see Austlit website: Le Thanh Nhon i(4 works by) Born: 1940 Vietnam ; Died: 2002 Melbourne, Victoria, make, Heritage: Vietnamese.
Le Thanh Nhon was a major Vietnamese sculptor and established an international reputation while still in his 20s. He lectured in fine arts at Saigon universities. When Saigon fell in 1975, he and his family fled by boat and were granted asylum in Australia. Nhon became a tram conductor in Melbourne, and also illustrated children's books. He also continued sculpting. Nhon's tram conductor's uniform and his art have been on display at the National Gallery of Australia. Hung Le [comedian] is his son.

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Le Thanh Nhon view full entry

Reference: see Nhon Le Thanh

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Le Thanh Nhon

Reference: see Nhon Le Thanh

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Nhon Le Thanhview full entry

Reference: Life with Past Images : Personal Accounts by Eight Vietnamese Settlers in Australia Cuộc đời với bóng dáng xưa Nguyen Xuan Thu (editor), Le Thanh Nhon (illustrator), Jacquie Hickman (translator),
Publishing details: Coburg : Phillip Institute of Technology , 1986
Ref: 1000

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Nhon Le Thanh

Reference: Life with Past Images : Personal Accounts by Eight Vietnamese Settlers in Australia Cuộc đời với bóng dáng xưa Nguyen Xuan Thu (editor), Le Thanh Nhon (illustrator), Jacquie Hickman (translator),

Publishing details: Coburg : Phillip Institute of Technology , 1986

Location: 1000

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Nhon Le Thanhview full entry

Reference: My Village Làng tôi Le Thao , Le Thanh Nhon (illustrator),
Publishing details: Victoria : Vietnamese Language and Culture Publications for Committee for the Preparation of Vietnamese Reading Materials , 1984
Ref: 1000

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Nhon Le Thanh

Reference: My Village Làng tôi Le Thao , Le Thanh Nhon (illustrator),

Publishing details: Victoria : Vietnamese Language and Culture Publications for Committee for the Preparation of Vietnamese Reading Materials , 1984

Location: 1000

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Nhon Le Thanhview full entry

Reference: The Season of the Flamboyant Flower : A Childrens' Reader Mùa hoa phượng Thị Hương Trần , Le Thanh Nhon (illustrator), Jacquie Hickman (translator),
Publishing details: Coburg : Vietnamese Language and Culture Publications for Committee for the Preparation of Vietnamese Reading Materials , 1985
Ref: 1000

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Nhon Le Thanh

Reference: The Season of the Flamboyant Flower : A Childrens' Reader Mùa hoa phượng Thị Hương Trần , Le Thanh Nhon (illustrator), Jacquie Hickman (translator),

Publishing details: Coburg : Vietnamese Language and Culture Publications for Committee for the Preparation of Vietnamese Reading Materials , 1985

Location: 1000

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Nhon Le Thanhview full entry

Reference: The Last Train Journey Le Thao , ( illus. Le Thanh Nhon )
Publishing details: Pascoe Vale South : Vietnamese Language and Culture Publications for Committee for the Preparation of Vietnamese Reading Materials , 1984 children's fiction children's
Ref: 1000

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Nhon Le Thanh

Reference: The Last Train Journey Le Thao , ( illus. Le Thanh Nhon )

Publishing details: Pascoe Vale South : Vietnamese Language and Culture Publications for Committee for the Preparation of Vietnamese Reading Materials , 1984 children's fiction children's

Location: 1000

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Gregory Alfredview full entry

Reference: Alfred Gregory - A Life In Photography
Aug 26, 2019, Gibsons Auction catalogue. Over 400 lots of photographs by the artist.
ONLINE CATALOGUE

Alfred Gregory
A Life in
Photography
26th August 2019

Level 1, 885-889 High Street
Armadale, Victoria 3143

Auction
26 August 12pm


Alfred Gregory (Greg) 1913–2010 – FBIPP Hon FRPS climber, explorer and photographer was born in Blackburn, Lancashire UK. During the Second World War he served as an officer in the Black Watch in North Africa and Italy.
 
In 1952 he was with Shipton’s Cho Oyu expedition in Nepal and in 1953 he was chosen as a climbing member of the British team, led by John Hunt, which made the first ascent of Mt Everest where he reached 8500 metres in support of the Hillary and Tenzing successful summit attempt. He was also the official stills photographer for the expedition.
 
Throughout the 1950s he led several expeditions: in Nepal, to Rolwaling and the Gauri Shankar massif where 19 new peaks were climbed and a plane table survey made, and to Ama Dablam; to Distigil Sar, Karakoram, in Pakistan: to the Cordillera Blanca in Peru.
 
Although wanting to study art he started life as a printer but art influences remained important throughout his life. He was greatly inspired by Japanese prints and admired Hokusai and Hiroshige’s use of colour and shape on a two dimensional canvas. He loved working in black and white and felt strongly that colour pictures should not be black and white images with added colour and that colour should be used creatively.
 
For over 50 years Greg worked as professional photojournalist and he loved shooting the people of the world. For him mountains were merely a backdrop to their lives and he never thought of himself as a landscape photographer. For 20 years he worked freelance for Kodak UK presenting up to 60 lectures each winter throughout Britain and Europe, illustrated with Kodachrome transparencies.
 
He spent a lifetime travelling on photographic assignments to most countries of the earth and his pictures and classic photo essays were published worldwide.
 
His work has been exhibited throughout Britain, Europe, America, Africa and Australia and galleries and private collectors hold his photographs.
 
For more than 25 years with his wife Sue, also a photographer, he planned and operated Photographic Holidays and Treks to remote regions of the earth. In 1996 he came to live in Australia and became an Australian citizen
Publishing details: Gibsons Auction , Aug 26, 2019,
Ref: 1000

×

Gregory Alfred

Reference: Alfred Gregory - A Life In Photography
Aug 26, 2019, Gibsons Auction catalogue. Over 400 lots of photographs by the artist.
ONLINE CATALOGUE

Alfred Gregory
A Life in
Photography
26th August 2019

Level 1, 885-889 High Street
Armadale, Victoria 3143

Auction
26 August 12pm


Alfred Gregory (Greg) 1913–2010 – FBIPP Hon FRPS climber, explorer and photographer was born in Blackburn, Lancashire UK. During the Second World War he served as an officer in the Black Watch in North Africa and Italy.
 
In 1952 he was with Shipton’s Cho Oyu expedition in Nepal and in 1953 he was chosen as a climbing member of the British team, led by John Hunt, which made the first ascent of Mt Everest where he reached 8500 metres in support of the Hillary and Tenzing successful summit attempt. He was also the official stills photographer for the expedition.
 
Throughout the 1950s he led several expeditions: in Nepal, to Rolwaling and the Gauri Shankar massif where 19 new peaks were climbed and a plane table survey made, and to Ama Dablam; to Distigil Sar, Karakoram, in Pakistan: to the Cordillera Blanca in Peru.
 
Although wanting to study art he started life as a printer but art influences remained important throughout his life. He was greatly inspired by Japanese prints and admired Hokusai and Hiroshige’s use of colour and shape on a two dimensional canvas. He loved working in black and white and felt strongly that colour pictures should not be black and white images with added colour and that colour should be used creatively.
 
For over 50 years Greg worked as professional photojournalist and he loved shooting the people of the world. For him mountains were merely a backdrop to their lives and he never thought of himself as a landscape photographer. For 20 years he worked freelance for Kodak UK presenting up to 60 lectures each winter throughout Britain and Europe, illustrated with Kodachrome transparencies.
 
He spent a lifetime travelling on photographic assignments to most countries of the earth and his pictures and classic photo essays were published worldwide.
 
His work has been exhibited throughout Britain, Europe, America, Africa and Australia and galleries and private collectors hold his photographs.
 
For more than 25 years with his wife Sue, also a photographer, he planned and operated Photographic Holidays and Treks to remote regions of the earth. In 1996 he came to live in Australia and became an Australian citizen

Publishing details: Gibsons Auction , Aug 26, 2019,

Location: 1000

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Lonergan Peter view full entry

Reference: from Museum of Sydney website, exhibition: Making Australian Modernism: Architecture
Sun 22 Oct,, 2017:
Peter Lonergan (B Sc Arch, B Arch, M Benv) architect and one of the directors of Cracknell & Lonergan Architects.
Cracknell & Lonergan was established in 1984 as a multi-disciplinary architecture and design practice. Through the development of the practice they are increasingly concerned with the conservation of cultural heritage and the sustainment of the environment, practicing these principals in their work. Alongside their commitment to Aboriginal Reconciliation.
The directors of the company are Peter Lonergan (B Sc Arch, B Arch, M Benv) and Julie Cracknell (B Sc Arch, B Arch, M Benv). Peter Lonergan is the Nominated Architect (NSW Registration No. 5983), a member of the Australian Institute of Architects and on the Heritage Conservation Committee of the AIA.
The company currently employs 10 staff and associates and specialises in a number of fields including: Heritage Architecture, design, restoration and analysis; Exhibition Design; Architecture, including work ranging in scale from small residential alterations and additions through to medium density residential, commercial and community work; Environmental Design; Town Planning and Landscaping Design; and Artistic Collaborations.

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Lonergan Peter

Reference: from Museum of Sydney website, exhibition: Making Australian Modernism: Architecture
Sun 22 Oct,, 2017:
Peter Lonergan (B Sc Arch, B Arch, M Benv) architect and one of the directors of Cracknell & Lonergan Architects.
Cracknell & Lonergan was established in 1984 as a multi-disciplinary architecture and design practice. Through the development of the practice they are increasingly concerned with the conservation of cultural heritage and the sustainment of the environment, practicing these principals in their work. Alongside their commitment to Aboriginal Reconciliation.
The directors of the company are Peter Lonergan (B Sc Arch, B Arch, M Benv) and Julie Cracknell (B Sc Arch, B Arch, M Benv). Peter Lonergan is the Nominated Architect (NSW Registration No. 5983), a member of the Australian Institute of Architects and on the Heritage Conservation Committee of the AIA.
The company currently employs 10 staff and associates and specialises in a number of fields including: Heritage Architecture, design, restoration and analysis; Exhibition Design; Architecture, including work ranging in scale from small residential alterations and additions through to medium density residential, commercial and community work; Environmental Design; Town Planning and Landscaping Design; and Artistic Collaborations.

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Lassen Catherine view full entry

Reference: from Museum of Sydney website, exhibition: Making Australian Modernism: Architecture
Sun 22 Oct,, 2017:
Catherine Lassen is an architect and Senior Lecturer in architecture at the University of Sydney. Her research is concerned with modern architectural history and its interconnections with contemporary practice. Writing and curating exhibitions on Australian architects such as Glenn Murcutt and Hugh Buhrich over a number of years, she has engaged with their projects via a focus on architectural drawings.

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Lassen Catherine

Reference: from Museum of Sydney website, exhibition: Making Australian Modernism: Architecture
Sun 22 Oct,, 2017:
Catherine Lassen is an architect and Senior Lecturer in architecture at the University of Sydney. Her research is concerned with modern architectural history and its interconnections with contemporary practice. Writing and curating exhibitions on Australian architects such as Glenn Murcutt and Hugh Buhrich over a number of years, she has engaged with their projects via a focus on architectural drawings.

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Wheeler Toneview full entry

Reference: from Museum of Sydney website, exhibition: Making Australian Modernism: Architecture
Sun 22 Oct,, 2017:
Tone Wheeler is an architect, author, educator and consultant with an abiding interest in environmentally sustainable design (esd) in the mid seventies. At the University of Sydney he designed and coordinated and assisted in the construction of the ‘autonomous house’, a working example of a low energy house constructed entirely from recycled materials. Upon graduation he worked for the Australian government in Canberra where he designed a range of low cost social housing that won the R.A.I.A Residential Design Award (C S Daley Medal) in 1980. For the last twenty years he has worked as an architect in his own practice and has won numerous awards and competitions. He has been on the faculty of 3 universities and is a frequent speaker at architectural conferences and seminars.

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Wheeler Tone

Reference: from Museum of Sydney website, exhibition: Making Australian Modernism: Architecture
Sun 22 Oct,, 2017:
Tone Wheeler is an architect, author, educator and consultant with an abiding interest in environmentally sustainable design (esd) in the mid seventies. At the University of Sydney he designed and coordinated and assisted in the construction of the ‘autonomous house’, a working example of a low energy house constructed entirely from recycled materials. Upon graduation he worked for the Australian government in Canberra where he designed a range of low cost social housing that won the R.A.I.A Residential Design Award (C S Daley Medal) in 1980. For the last twenty years he has worked as an architect in his own practice and has won numerous awards and competitions. He has been on the faculty of 3 universities and is a frequent speaker at architectural conferences and seminars.

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Freedman Foundation Travelling Scholarship Exhibitionview full entry

Reference: Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington
Ref: 1000

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Freedman Foundation Travelling Scholarship Exhibition

Reference: Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location: 1000

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Messih Spence view full entry

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

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Messih Spence

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location:

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Retallick Sara view full entry

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

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Retallick Sara

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location:

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Rich Roberta Joy view full entry

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

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Rich Roberta Joy

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location:

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Alexandra Spence view full entry

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

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Alexandra Spence

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location:

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Baker Tiyan view full entry

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

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Baker Tiyan

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location:

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Bryant Kieran view full entry

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

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Bryant Kieran

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location:

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McGrath Callum view full entry

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

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McGrath Callum

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location:

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Olivier-Gargano Laetitiaview full entry

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

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Olivier-Gargano Laetitia

Reference: see Freedman Foundation Travelling Scholarship Exhibition - Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.
Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.
Through a range of media including sound, sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.
From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Publishing details: UNSW Galleries, 2019,  Cnr Oxford Street and Greens Road, Paddington

Location:

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Manietta Siegfried view full entry

Reference: The Australian environment : landscape as art & inspiration. photographs by Siegfried Manietta ; [essays by Ian Lowe, Michele Helmrich and Maurice Ortega ; design and artwork, Imants Jaunitis]
Publishing details: T&G Publishing, 2011, 1 volume (unpaged) : colour photographs
Ref: 1000

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Manietta Siegfried

Reference: The Australian environment : landscape as art & inspiration. photographs by Siegfried Manietta ; [essays by Ian Lowe, Michele Helmrich and Maurice Ortega ; design and artwork, Imants Jaunitis]

Publishing details: T&G Publishing, 2011, 1 volume (unpaged) : colour photographs

Location: 1000

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Woolnough Meredith view full entry

Reference: Organic Embroidery. [’Renowned textile artist Meredith Woolnough creates replicas of nature using a delicate system of tiny stitches. Her artwork is breathtaking,and now for the first time Woolnough offers crafters and fiberartists a lesson in how to use the "organic embroidery" technique. Look behind the scenes of her art process, from the initialfieldwork sketching and research that inspires her designs, to theproduction of her ethereal embroidered sculptures. She guides you through 12 creativity-prompting activities to help you begin your own mastery of this method. As you learn to find your desired shape or pattern in nature, from sources like leaves, shells, or coral, then use your sewing machine to turn bits into exquisite art. You'll also enjoy dozens of inspirational photos of Woolnough's ownart pieces. Woolnough's instructions offer simple but highlyversatile techniques, and allow you space for your own creative approach. ‘]
Publishing details: Schiffer Pub Ltd, 2018, 176pp, pb
Ref: 1000

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Woolnough Meredith

Reference: Organic Embroidery. [’Renowned textile artist Meredith Woolnough creates replicas of nature using a delicate system of tiny stitches. Her artwork is breathtaking,and now for the first time Woolnough offers crafters and fiberartists a lesson in how to use the "organic embroidery" technique. Look behind the scenes of her art process, from the initialfieldwork sketching and research that inspires her designs, to theproduction of her ethereal embroidered sculptures. She guides you through 12 creativity-prompting activities to help you begin your own mastery of this method. As you learn to find your desired shape or pattern in nature, from sources like leaves, shells, or coral, then use your sewing machine to turn bits into exquisite art. You'll also enjoy dozens of inspirational photos of Woolnough's ownart pieces. Woolnough's instructions offer simple but highlyversatile techniques, and allow you space for your own creative approach. ‘]

Publishing details: Schiffer Pub Ltd, 2018, 176pp, pb

Location: 1000

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Mora Mirkaview full entry

Reference: Mirka Mora : a life making art / Sabine Cotte. [’Mirka Mora features a rich insight into the intellectual life and art practice of one of Australia's most versatile, creative and prolific modern artists. A Melbourne cultural icon, Mirka, along with her ex-husband Georges, was instrumental in helping to establish Australian modern art on a global stage. She was integral in reviving the meetings of the Contemporary Artists Society, whose members included friends John Perceval and John and Sunday Reed, and later in creating hubs for artistic figures at Mirka cafe and the Balzac restaurant. Among her many artistic achievements, Mirka is much admired for her Flinders Street mural, Adelaide Festival frieze and stained-glass paintings at Heide. This book focuses on her idiosyncratic processes, which are largely self-taught and blend traditional techniques with modern creativity. With privileged access to Mirka and her studio, Sabine Cotte offers an intimate portrait of one of Australia's best-loved artists.’] Includes bibliographic references (pages 245-262) and index.
Publishing details: Thames & Hudson Australia, 2019 
©2019 
ix, 268 pages, 16 unnumbered pages of plates : illustrations, portraits
Ref: 1009

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Mora Mirka

Reference: Mirka Mora : a life making art / Sabine Cotte. [’Mirka Mora features a rich insight into the intellectual life and art practice of one of Australia's most versatile, creative and prolific modern artists. A Melbourne cultural icon, Mirka, along with her ex-husband Georges, was instrumental in helping to establish Australian modern art on a global stage. She was integral in reviving the meetings of the Contemporary Artists Society, whose members included friends John Perceval and John and Sunday Reed, and later in creating hubs for artistic figures at Mirka cafe and the Balzac restaurant. Among her many artistic achievements, Mirka is much admired for her Flinders Street mural, Adelaide Festival frieze and stained-glass paintings at Heide. This book focuses on her idiosyncratic processes, which are largely self-taught and blend traditional techniques with modern creativity. With privileged access to Mirka and her studio, Sabine Cotte offers an intimate portrait of one of Australia's best-loved artists.’] Includes bibliographic references (pages 245-262) and index.

Publishing details: Thames & Hudson Australia, 2019 
©2019 
ix, 268 pages, 16 unnumbered pages of plates : illustrations, portraits

Location: 1009

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Paterson Julieview full entry

Reference: Clothbound, iconic fabric designs : stories of a handmade process / Julie Paterson. [’For over 20 years, Julie Paterson, founder of ClothFabric, has been designing and printing contemporary textiles by hand. Her iconic patterns, inspired by and connected to the Australian landscape, have been applied to furnishings, rugs and wallpapers and sold the world over. ClothBound is the story of Julie’s most significant and well loved designs, and offers a very intimate insight into the creative process of a much loved artist, designer and maker at work in her shed.’]
Publishing details: Murdoch Books, 2015, 232 pages : colour illustrations
Ref: 1000

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Paterson Julie

Reference: Clothbound, iconic fabric designs : stories of a handmade process / Julie Paterson. [’For over 20 years, Julie Paterson, founder of ClothFabric, has been designing and printing contemporary textiles by hand. Her iconic patterns, inspired by and connected to the Australian landscape, have been applied to furnishings, rugs and wallpapers and sold the world over. ClothBound is the story of Julie’s most significant and well loved designs, and offers a very intimate insight into the creative process of a much loved artist, designer and maker at work in her shed.’]

Publishing details: Murdoch Books, 2015, 232 pages : colour illustrations

Location: 1000

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McAulay Thomas (b1946)view full entry

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities Art and Design, Tuesday 27 August 2019:
lot 1: Thomas McAulay (b.1946)
Outback Landscape
oil on board, signed l.r.c. ‘McAulay’
Measurements:
90 x 121 cm
Provenance:
The Collection of Bob Hawke and Blanche d’Alpuget, Sydney
Reference:
In 1990 Thomas McAulay was commissioned by the then Prime Minister, Bob Hawke, to complete a series of paintings of Australians in sport. In 2000 he was the selected Queensland artist represented in the 'Sports in Art' exhibition held in Adelaide.

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McAulay Thomas (b1946)

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities Art and Design, Tuesday 27 August 2019:
lot 1: Thomas McAulay (b.1946)
Outback Landscape
oil on board, signed l.r.c. ‘McAulay’
Measurements:
90 x 121 cm
Provenance:
The Collection of Bob Hawke and Blanche d’Alpuget, Sydney
Reference:
In 1990 Thomas McAulay was commissioned by the then Prime Minister, Bob Hawke, to complete a series of paintings of Australians in sport. In 2000 he was the selected Queensland artist represented in the 'Sports in Art' exhibition held in Adelaide.

Publishing details:

Location:

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Freeman Richardview full entry

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities Art and Design, Tuesday 27 August 2019:
lot 132
Richard Freeman
Portrait of Bob Hawke
with label verso ‘For Bob and Blanche, With Thanks Angus and Pan Mac’
Measurements:
42 x 30 cm
Provenance:
The Collection of Bob Hawke and Blanche d’Alpuget, Sydney

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Freeman Richard

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities Art and Design, Tuesday 27 August 2019:
lot 132
Richard Freeman
Portrait of Bob Hawke
with label verso ‘For Bob and Blanche, With Thanks Angus and Pan Mac’
Measurements:
42 x 30 cm
Provenance:
The Collection of Bob Hawke and Blanche d’Alpuget, Sydney

Publishing details:

Location:

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Pratt Louisview full entry

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities.
various worls including: Louis Pratt (b.1972)
The Alchemist, 1999; John Taussan, 1998
book cover collages (2)
Measurements:
23 x 15 cm; 21.5 x 16cm
Provenance:
Australian Galleries, Sydney, The Collection of Bob Hawke and Blanche d’Alpuget, Sydney
Labels:
Australian Galleries, Stock Nos. 27755, 27754

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Pratt Louis

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities.
various worls including: Louis Pratt (b.1972)
The Alchemist, 1999; John Taussan, 1998
book cover collages (2)
Measurements:
23 x 15 cm; 21.5 x 16cm
Provenance:
Australian Galleries, Sydney, The Collection of Bob Hawke and Blanche d’Alpuget, Sydney
Labels:
Australian Galleries, Stock Nos. 27755, 27754

Publishing details:

Location:

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Horner Arthur (1916-1997)view full entry

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities. lot 171:
cartoon, Arthur Horner (1916-1997)
Blanch d'Alpuget - Cartoon
ink on paper, signed l.r.c. ‘Horner’
Measurements:
33 x 39 cm
Provenance:
The Collection of Bob Hawke and Blanche d’Alpuget, Sydney

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Horner Arthur (1916-1997)

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities. lot 171:
cartoon, Arthur Horner (1916-1997)
Blanch d'Alpuget - Cartoon
ink on paper, signed l.r.c. ‘Horner’
Measurements:
33 x 39 cm
Provenance:
The Collection of Bob Hawke and Blanche d’Alpuget, Sydney

Publishing details:

Location:

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Goon Yurikoview full entry

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities. lot 175:
Yuriko Goon (20th Century)
Jacaranda Stud, 1992
acrylic on canvas board, signed l.l.c. ‘Y. Goon’, with presentation plaque on frame
Measurements:
49 x 75 cm
Provenance:
The Collection of Bob Hawke and Blanche d’Alpuget, Sydney

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Goon Yuriko

Reference: see Shapiro auction, SH166 - Bob Hawke & Blanche d'Alpuget Mementos Curiosities. lot 175:
Yuriko Goon (20th Century)
Jacaranda Stud, 1992
acrylic on canvas board, signed l.l.c. ‘Y. Goon’, with presentation plaque on frame
Measurements:
49 x 75 cm
Provenance:
The Collection of Bob Hawke and Blanche d’Alpuget, Sydney

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Fuller S Pearceview full entry

Reference: see Lawsons timed internet auction Artarmon Home Contents - Sale 8804A - Lot 41: S. Pearce Fuller (Aus/NZ active 1870s-1910s)
Creek Through the Hillsides, 1878
oil on canvas
49cm x 75cm
SLR and dated 1878

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Fuller S Pearce

Reference: see Lawsons timed internet auction Artarmon Home Contents - Sale 8804A - Lot 41: S. Pearce Fuller (Aus/NZ active 1870s-1910s)
Creek Through the Hillsides, 1878
oil on canvas
49cm x 75cm
SLR and dated 1878

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Bloxam Ethel Annie 1870-1971view full entry

Reference: Probably the correct name for Ethel ‘DArcourt Bloxam as recorded in McCulloch and in Caroline Ambrus Ladies Picture Show. This information is from a user of the Scheding Index who also noted d’Arcourt might indeed be A’Court, the middle name of Ethels’s father.

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Bloxam Ethel Annie 1870-1971

Reference: Probably the correct name for Ethel ‘DArcourt Bloxam as recorded in McCulloch and in Caroline Ambrus Ladies Picture Show. This information is from a user of the Scheding Index who also noted d’Arcourt might indeed be A’Court, the middle name of Ethels’s father.

Publishing details:

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Aurukun artistsview full entry

Reference: Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 
Ref: 1000

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Aurukun artists

Reference: Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location: 1000

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Aboriginal artview full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Aboriginal art

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Bell Jack view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Bell Jack

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Bowenda Trevor view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Bowenda Trevor

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Koomeeta Craig view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Koomeeta Craig

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Koo'oila Akay view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

×

Koo'oila Akay

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Marbendinar Vernon view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Marbendinar Vernon

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Marpoondin David view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Marpoondin David

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Namponan Gary view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Namponan Gary

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Namponan Leigh view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Namponan Leigh

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Ngallametta Mavis view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Ngallametta Mavis

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Pambegan Alair view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Pambegan Alair

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Koo'Ekka Arthur Pambegam jrview full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Koo'Ekka Arthur Pambegam jr

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Pootchemunka Margaret Jane view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Pootchemunka Margaret Jane

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Wikmunea Keith view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

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Wikmunea Keith

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Yunkaporta Jacob view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

×

Yunkaporta Jacob

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Yunkaporta Roderick view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

×

Yunkaporta Roderick

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Yunkaporta Ron view full entry

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.
Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

×

Yunkaporta Ron

Reference: see Aurukun artists : wiy min yumpan ngamp. Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills. Works by Jack Bell, Trevor Bowenda, Craig Koomeeta, Akay Koo'oila, Vernon Marbendinar, David Marpoondin, Gary Namponan, Leigh Namponan, Mavis Ngallametta, Alair Pambegan, Arthur Koo'Ekka Pambegam jr, Margaret Jane Pootchemunka, Keith Wikmunea, Jacob Yunkaporta, Roderick Yunkaporta, Ron Yunkaporta.

Publishing details: Bowen Hills, Qld. : Andrew Baker Art Dealer, c2008 
1 v. (unpaged) : col. ill. ; 21 cm. 

Location:

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Norton Rosalindview full entry

Reference: see Sydney Rare Book Auctions
August 24, 2019, 1:00 PM AEST
Ultimo, Australia, lot 88: An unpublished draft manuscript entitled Dark Rosaleen, by Keith Richmond (signed 1996), being 352 typed foolscap pages, in 3 binders, holding much fascinating and new biographical information on the Witch of KIngs Cross.
Ref: 1000

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Norton Rosalind

Reference: see Sydney Rare Book Auctions
August 24, 2019, 1:00 PM AEST
Ultimo, Australia, lot 88: An unpublished draft manuscript entitled Dark Rosaleen, by Keith Richmond (signed 1996), being 352 typed foolscap pages, in 3 binders, holding much fascinating and new biographical information on the Witch of KIngs Cross.

Publishing details:

Location: 1000

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Duncan Kenview full entry

Reference: Australia Wide by Ken Duncan.
Publishing details: Published by Panographs 2002. Oblong Original leather cloth with leather slipcase.
Ref: 1000

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Duncan Ken

Reference: Australia Wide by Ken Duncan.

Publishing details: Published by Panographs 2002. Oblong Original leather cloth with leather slipcase.

Location: 1000

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Undergrowthview full entry

Reference: Undergrowth A Magazine of Youth and ideals. Edited by Nancy Hall. Original wrappers 16 pages. Tipped in colour frontispiece by Roland Wakelin, full page lino-cuts by Edgar Ritchard, Gladys Gibbons and Gwen Ridley with a lino-cut cover design by D Hawthorne. [Trove notes just one set (?) and that at University of Queensland library].
Publishing details: Sydney, single issue from Sept Oct 1928.
Ref: 1000

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Undergrowth

Reference: Undergrowth A Magazine of Youth and ideals. Edited by Nancy Hall. Original wrappers 16 pages. Tipped in colour frontispiece by Roland Wakelin, full page lino-cuts by Edgar Ritchard, Gladys Gibbons and Gwen Ridley with a lino-cut cover design by D Hawthorne. [Trove notes just one set (?) and that at University of Queensland library].

Publishing details: Sydney, single issue from Sept Oct 1928.

Location: 1000

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Undergrowth : a magazine of youth and idealsview full entry

Reference: Undergrowth : a magazine of youth and ideals / edited by Nancy A. Hall and Dore Hawthorne. Journal. Some issues are duplicated typescript. Digital master available National Library of Australia

Publishing details: [Sydney] : N. Hall and D. Hawthorne, [1924-1930?] 
v. : ill. ; 29cm. Life Dates Ended in 1930?  Began in 1924 
Ref: 1000

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Undergrowth : a magazine of youth and ideals

Reference: Undergrowth : a magazine of youth and ideals / edited by Nancy A. Hall and Dore Hawthorne. Journal. Some issues are duplicated typescript. Digital master available National Library of Australia

Publishing details: [Sydney] : N. Hall and D. Hawthorne, [1924-1930?] 
v. : ill. ; 29cm. Life Dates Ended in 1930?  Began in 1924 

Location: 1000

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Hall Nancy Aview full entry

Reference: see Undergrowth : a magazine of youth and ideals / edited by Nancy A. Hall and Dore Hawthorne. Journal. Some issues are duplicated typescript. Digital master available National Library of Australia

Publishing details: [Sydney] : N. Hall and D. Hawthorne, [1924-1930?] 
v. : ill. ; 29cm. Life Dates Ended in 1930?  Began in 1924 

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Hall Nancy A

Reference: see Undergrowth : a magazine of youth and ideals / edited by Nancy A. Hall and Dore Hawthorne. Journal. Some issues are duplicated typescript. Digital master available National Library of Australia

Publishing details: [Sydney] : N. Hall and D. Hawthorne, [1924-1930?] 
v. : ill. ; 29cm. Life Dates Ended in 1930?  Began in 1924 

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Hawthorne Dore view full entry

Reference: see Undergrowth : a magazine of youth and ideals / edited by Nancy A. Hall and Dore Hawthorne. Journal. Some issues are duplicated typescript. Digital master available National Library of Australia

Publishing details: [Sydney] : N. Hall and D. Hawthorne, [1924-1930?] 
v. : ill. ; 29cm. Life Dates Ended in 1930?  Began in 1924 

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Hawthorne Dore

Reference: see Undergrowth : a magazine of youth and ideals / edited by Nancy A. Hall and Dore Hawthorne. Journal. Some issues are duplicated typescript. Digital master available National Library of Australia

Publishing details: [Sydney] : N. Hall and D. Hawthorne, [1924-1930?] 
v. : ill. ; 29cm. Life Dates Ended in 1930?  Began in 1924 

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McKay Barbara b1939view full entry

Reference: Barbara McKay: Sacred. [’Barbara McKay is one of Australia’s truly significant female abstract expressionist artists. Feted by renowned American art critic Clement Greenberg but at times overlooked in her homeland, Sacred reveals McKay’s commitment to immersing herself wholly into the gestural expression of the world and environment around her. This is McKay’s first retrospective exhibition and spans more than 50 years of dedicated art practice.’]
Publishing details: New England Regional Art Gallery, 2019
Ref: 1000

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McKay Barbara b1939

Reference: Barbara McKay: Sacred. [’Barbara McKay is one of Australia’s truly significant female abstract expressionist artists. Feted by renowned American art critic Clement Greenberg but at times overlooked in her homeland, Sacred reveals McKay’s commitment to immersing herself wholly into the gestural expression of the world and environment around her. This is McKay’s first retrospective exhibition and spans more than 50 years of dedicated art practice.’]

Publishing details: New England Regional Art Gallery, 2019

Location: 1000

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Wilson Hadynview full entry

Reference: Hadyn Wilson: An Historical Novel. [’Hadyn Wilson has undertaken a journey of creative sleuthing and research to put together an alternative history of selected works in the Hinton Collection. From the beloved ‘Yellow Gloves’ moonlighting as a fast food icon to commentary on international politics in James Cook’s ‘The Bequinage, Brussels’, Wilson casts a contemporary eye on paintings of the past resulting in a renewed questioning and engagement with the works.’]
Publishing details: New England Regional Art Gallery, 2019
Ref: 1000

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Wilson Hadyn

Reference: Hadyn Wilson: An Historical Novel. [’Hadyn Wilson has undertaken a journey of creative sleuthing and research to put together an alternative history of selected works in the Hinton Collection. From the beloved ‘Yellow Gloves’ moonlighting as a fast food icon to commentary on international politics in James Cook’s ‘The Bequinage, Brussels’, Wilson casts a contemporary eye on paintings of the past resulting in a renewed questioning and engagement with the works.’]

Publishing details: New England Regional Art Gallery, 2019

Location: 1000

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Sheard Charlieview full entry

Reference: Charlie Sheard: Absolute Abstraction. [’This exhibition presents the work of Charlie Sheard, one of Sydney’s most respected abstract painters who has spent the last forty years developing a language of pure abstract forms. His practice is deeply concerned with the history and development of techniques and materials, and his large paintings reflect upon his wide ranging interest in European, Chinese and Australian cultural history. Charlie Sheard is represented in Sydney by May Space.’]
Publishing details: Manly Art Gallry, 2019
Ref: 1000

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Sheard Charlie

Reference: Charlie Sheard: Absolute Abstraction. [’This exhibition presents the work of Charlie Sheard, one of Sydney’s most respected abstract painters who has spent the last forty years developing a language of pure abstract forms. His practice is deeply concerned with the history and development of techniques and materials, and his large paintings reflect upon his wide ranging interest in European, Chinese and Australian cultural history. Charlie Sheard is represented in Sydney by May Space.’]

Publishing details: Manly Art Gallry, 2019

Location: 1000

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Dawson Kerryview full entry

Reference: from artist’s website: ‘My canvas evolves with no pre-conceived idea of what the end result will be. However, there will be a starting point; an idea, a feeling, a colour or shape, could also serve as a point of departure. This process runs a fine line of success and creates an unpredictable tension between the conscious and subconscious that is only resolved at it's conclusion.
I attempt to create marks that are authentic, honest and organic from either the brush or a less conventional tool. The intention is always to strive for a pure essence of abstraction and to explore the limitless possibilities the art-form has to offer.
In my commercial art background, colour palettes are formal and have to be justified. The luxury of complete freedom in the abstract form is what inspires me. Ideas are expressed through the language of colour, composition, form and texture. My large scale canvases of encaustic wax sweeps and layering of fragmented dripping washes are the culmination of a lifetime of creative vocation.
I studied graphic design in New Zealand and art at the Brera Art Academy in Milan, Italy. The pursuit of a creative life started at an early age. Growing up in a small coastal New Zealand town in the early 1980s, inspiration was all around me. The volcanic land and seascapes, the natural beauty of the countryside and the tribal art of indigenous Maori all had an influence. An art teacher exposed me to local masters such as, Philip Clairmont, Bill Hammond and Colin McCahon. This spurred my development along with international masters, David Hockney and Andy Warhol whose use of colour combinations is fearless.
A recent visit to Vienna exposed me to Miro` at the Albertina Museum. I was taken aback at the force, simplicity and gravity of his mark-making and contemporary vision. I was drawn into the canvases and in awe of those intensly powerful, primal and innovative images of their time.
I draw inspiration from the mid-twentieth century New York school of abstract expressionists, Willem de Kooning, Helen Frankenthaler, Hans Hoffman, Franz Kline, Robert Motherwell, Jackson Pollock, Robert Rauschenberg, Mark Rothko, and Cy Ywombly. Australian artists, Sally Gabori, Sam Holt, Waldemar Kolbusz, Anthony Lister, John Olson, Peter Sharp and Brett Whiteley are also strong influences.’
Publishing details: Sheffer Gallery, Darlington, July 2015

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Dawson Kerry

Reference: from artist’s website: ‘My canvas evolves with no pre-conceived idea of what the end result will be. However, there will be a starting point; an idea, a feeling, a colour or shape, could also serve as a point of departure. This process runs a fine line of success and creates an unpredictable tension between the conscious and subconscious that is only resolved at it's conclusion.
I attempt to create marks that are authentic, honest and organic from either the brush or a less conventional tool. The intention is always to strive for a pure essence of abstraction and to explore the limitless possibilities the art-form has to offer.
In my commercial art background, colour palettes are formal and have to be justified. The luxury of complete freedom in the abstract form is what inspires me. Ideas are expressed through the language of colour, composition, form and texture. My large scale canvases of encaustic wax sweeps and layering of fragmented dripping washes are the culmination of a lifetime of creative vocation.
I studied graphic design in New Zealand and art at the Brera Art Academy in Milan, Italy. The pursuit of a creative life started at an early age. Growing up in a small coastal New Zealand town in the early 1980s, inspiration was all around me. The volcanic land and seascapes, the natural beauty of the countryside and the tribal art of indigenous Maori all had an influence. An art teacher exposed me to local masters such as, Philip Clairmont, Bill Hammond and Colin McCahon. This spurred my development along with international masters, David Hockney and Andy Warhol whose use of colour combinations is fearless.
A recent visit to Vienna exposed me to Miro` at the Albertina Museum. I was taken aback at the force, simplicity and gravity of his mark-making and contemporary vision. I was drawn into the canvases and in awe of those intensly powerful, primal and innovative images of their time.
I draw inspiration from the mid-twentieth century New York school of abstract expressionists, Willem de Kooning, Helen Frankenthaler, Hans Hoffman, Franz Kline, Robert Motherwell, Jackson Pollock, Robert Rauschenberg, Mark Rothko, and Cy Ywombly. Australian artists, Sally Gabori, Sam Holt, Waldemar Kolbusz, Anthony Lister, John Olson, Peter Sharp and Brett Whiteley are also strong influences.’

Publishing details: Sheffer Gallery, Darlington, July 2015

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Westlake Kateview full entry

Reference: see article in Sydney Morning Herald, August 17-18, 2019, Spectrum, p14 (on brother Nigel Westlake, composer)

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Westlake Kate

Reference: see article in Sydney Morning Herald, August 17-18, 2019, Spectrum, p14 (on brother Nigel Westlake, composer)

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Kay Marjeryview full entry

Reference: see Raffan Kelleher and Thomas online auction, 25 August 2019, lot 2: MARJERY KAY, Robert (Bobby) Blaikie Leith, oil on board, 69 x 56 cm, signed lower right
CONDITION
Inscibed verso: Painted by Margery Kay in 1942/1943 as her gift of comfort to Pop and Missus after she heard that he had been killed in S.A.A.F. (at sea, off Bushman's Ridge)

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Kay Marjery

Reference: see Raffan Kelleher and Thomas online auction, 25 August 2019, lot 2: MARJERY KAY, Robert (Bobby) Blaikie Leith, oil on board, 69 x 56 cm, signed lower right
CONDITION
Inscibed verso: Painted by Margery Kay in 1942/1943 as her gift of comfort to Pop and Missus after she heard that he had been killed in S.A.A.F. (at sea, off Bushman's Ridge)

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Lewis Brandt view full entry

Reference: Brandt Lewis - Recasting. Exhibition: 5 - 24 September 2019

Recasting is the latest solo exhibition by Brandt Lewis who further develops the themes of staging and narrative from his 2017 show at Thienny Lee Gallery, Staging Stills. Lewis continues his format of still-life painting to present a variety of stories incorporating manikins and toy animals. The narratives within these works stage retellings of art history, animals questioning their rightful place while mourning their losses, as well as various contexts of the artist’s self-observation. Lewis cleverly ‘gets his hand’ into his paintings through the careful placement of a white director’s glove, asserting his presence in the staging of some stories.

“The manikins are retelling various art historical pictures in their own terms as well as playing at being people in other scenarios; ‘The Blind Leading the Blind’ by Bruegel is restaged by manikins without eyes, and everyday experiences become more real for the wooden figures than the ‘real’ people.” – Brandt Lewis
 




Publishing details: Thienny Lee Gallery, 2019,
176 New South Head Road, Edgecliff, NSW 2027

Ref: 1000

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Lewis Brandt

Reference: Brandt Lewis - Recasting. Exhibition: 5 - 24 September 2019

Recasting is the latest solo exhibition by Brandt Lewis who further develops the themes of staging and narrative from his 2017 show at Thienny Lee Gallery, Staging Stills. Lewis continues his format of still-life painting to present a variety of stories incorporating manikins and toy animals. The narratives within these works stage retellings of art history, animals questioning their rightful place while mourning their losses, as well as various contexts of the artist’s self-observation. Lewis cleverly ‘gets his hand’ into his paintings through the careful placement of a white director’s glove, asserting his presence in the staging of some stories.

“The manikins are retelling various art historical pictures in their own terms as well as playing at being people in other scenarios; ‘The Blind Leading the Blind’ by Bruegel is restaged by manikins without eyes, and everyday experiences become more real for the wooden figures than the ‘real’ people.” – Brandt Lewis
 

Publishing details: Thienny Lee Gallery, 2019,
176 New South Head Road, Edgecliff, NSW 2027

Location: 1000

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Figuerola Alma c.1895-1969view full entry

Reference: see Joels auction 22 August 2019, Sale LJW8280, for three lots. Note Joels giver her dates as c.1895-1969

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Figuerola Alma c.1895-1969

Reference: see Joels auction 22 August 2019, Sale LJW8280, for three lots. Note Joels giver her dates as c.1895-1969

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Andrew Jeremyview full entry

Reference: NLA catalogue: [Biographical cuttings on Jeremy Andrew, architecture graduate / cartoonist illustrator, containing one or more cuttings from newspapers or journals]

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Andrew Jeremy

Reference: NLA catalogue: [Biographical cuttings on Jeremy Andrew, architecture graduate / cartoonist illustrator, containing one or more cuttings from newspapers or journals]

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Andrew Jeremyview full entry

Reference: see Property Observer, 5 June, 2013: ‘Andrew’s first job was a comic artist for the Sydney Morning Herald, and has since worked with the likes of MTV, Adidas, Diesel, Converse and Reed Space Gallery in New York.
Andrew splits his time between his studio in Bondi Beach Sydney and in Soho New York where his creative and life partner, Megan Mair plan to spend more time.’

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Andrew Jeremy

Reference: see Property Observer, 5 June, 2013: ‘Andrew’s first job was a comic artist for the Sydney Morning Herald, and has since worked with the likes of MTV, Adidas, Diesel, Converse and Reed Space Gallery in New York.
Andrew splits his time between his studio in Bondi Beach Sydney and in Soho New York where his creative and life partner, Megan Mair plan to spend more time.’

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Jeremy view full entry

Reference: see Andres Jeremy, cartoonist, dsigner

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Jeremy

Reference: see Andres Jeremy, cartoonist, dsigner

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Orsini Cherylview full entry

Reference: from Harper Collins website: Cheryl Orsini has illustrated and designed several titles for children, including I Wish I'd Danced with Anna Pavlova and My Funky Fishing Book. She is also a graphic designer who has worked for a variety of clients in the theatre, film and music industries.

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Orsini Cheryl

Reference: from Harper Collins website: Cheryl Orsini has illustrated and designed several titles for children, including I Wish I'd Danced with Anna Pavlova and My Funky Fishing Book. She is also a graphic designer who has worked for a variety of clients in the theatre, film and music industries.

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Caruana Wallyview full entry

Reference: Night Fishing by Jamie Grant (illustrated by Wally Caruana).
Publishing details: Canberra: Open Door Press, 1976.
Ref: 1000

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Caruana Wally

Reference: Night Fishing by Jamie Grant (illustrated by Wally Caruana).

Publishing details: Canberra: Open Door Press, 1976.

Location: 1000

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Caruana Wallyview full entry

Reference: Boundaries by Judith Wright ; illustration by Wally Caruana

Publishing details: Canberra : Open Door Press, 1976
Ref: 1000

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Caruana Wally

Reference: Boundaries by Judith Wright ; illustration by Wally Caruana

Publishing details: Canberra : Open Door Press, 1976

Location: 1000

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Caruana Wallyview full entry

Reference: The water carrier / Craig Powell ; illustration by Wally Caruana


 
Mickey Mouse balloon / Thomas Shapcott ; illustration by Wally Caruana
by Shapcott, Thomas W. (Thomas William), 1935-
Canberra : Open Door Press, 1976
Publishing details: Canberra : Open Door Press, 1976
Ref: 1000

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Caruana Wally

Reference: The water carrier / Craig Powell ; illustration by Wally Caruana


 
Mickey Mouse balloon / Thomas Shapcott ; illustration by Wally Caruana
by Shapcott, Thomas W. (Thomas William), 1935-
Canberra : Open Door Press, 1976

Publishing details: Canberra : Open Door Press, 1976

Location: 1000

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Caruana Wallyview full entry

Reference: Mickey Mouse balloon / Thomas Shapcott ; illustration by Wally Caruana


Publishing details: Canberra : Open Door Press, 1976
Ref: 1000

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Caruana Wally

Reference: Mickey Mouse balloon / Thomas Shapcott ; illustration by Wally Caruana

Publishing details: Canberra : Open Door Press, 1976

Location: 1000

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Talaj Tomaszview full entry

Reference: Tomasz Talaj, Exhibition, Peter Walker Fine Art.
‘TOMASZ TALAJ is an Adelaide based artist producing subtle and ethereal landscapes.
Tomasz was born in the UK in 1964 and moved to Australia in the early 1970s. He graduated from RMIT with a Bachelor of Arts in 1987. In 2007 and 2009 Tomasz was a finalist in the Waterhouse Natural History Art Prize as well as a finalist in the Cromwell Art Prize in 2005. His work has featured in the Foxtel series love my way with Sam Worthington and Asher Keddie.
Tomasz has exhibited nationally and internationally and his work is held in numerous public and private collections including Ecole des Beaux Arts - Paris, Jardim Botanico - Rio de Janeiro and the Golden Dragon Museum - Bendigo, Victoria.

EXHIBITION
Thursday 22 August - Saturday 7 September 2019
Open: Thursday - Saturday 11am - 5pm
101 Walkerville Terrace 
Walkerville, South Australia’
Publishing details: Peter Walker Fine Art, Adelaide, 2019
Ref: 1000

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Talaj Tomasz

Reference: Tomasz Talaj, Exhibition, Peter Walker Fine Art.
‘TOMASZ TALAJ is an Adelaide based artist producing subtle and ethereal landscapes.
Tomasz was born in the UK in 1964 and moved to Australia in the early 1970s. He graduated from RMIT with a Bachelor of Arts in 1987. In 2007 and 2009 Tomasz was a finalist in the Waterhouse Natural History Art Prize as well as a finalist in the Cromwell Art Prize in 2005. His work has featured in the Foxtel series love my way with Sam Worthington and Asher Keddie.
Tomasz has exhibited nationally and internationally and his work is held in numerous public and private collections including Ecole des Beaux Arts - Paris, Jardim Botanico - Rio de Janeiro and the Golden Dragon Museum - Bendigo, Victoria.

EXHIBITION
Thursday 22 August - Saturday 7 September 2019
Open: Thursday - Saturday 11am - 5pm
101 Walkerville Terrace 
Walkerville, South Australia’

Publishing details: Peter Walker Fine Art, Adelaide, 2019

Location: 1000

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de Maistre Royview full entry

Reference: see Deutscher and Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 28 August 2019 for 8 works, lots 1-8, with extensive catalogue entries. From the Ken and Joan Plomley Collection.

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de Maistre Roy

Reference: see Deutscher and Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 28 August 2019 for 8 works, lots 1-8, with extensive catalogue entries. From the Ken and Joan Plomley Collection.

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Macqueen Kennethview full entry

Reference: see Deutscher and Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 28 August 2019 for 8 works, lots 32 36, with short catalogue essay. From the Ken and Joan Plomley Collection.
IMPORTANT WORKS BY KENNETH MACQUEEN

IMPORTANT AUSTRALIAN AND INTERNATIONAL FINE ART
SYDNEY- 28 AUGUST 2019

‘I try in my work to express the joy of living […] Australia is not a sinister country, nor is she harsh. Her bush is not drab. It is full of gaiety if one will trouble to seek. She has her grim moods […] and there is always the glory of her skies, and when she smiles, it is of transcending beauty’.1
KENNETH MACQUEEN - SUPPLEMENTARY IMAGE.JPG

KENNETH MACQUEEN
photo by Revan Macqueen

Kenneth Macqueen embodied the romantic figure of the farmer-artist, a man whose love and appreciation of the land upon which he lived shone through in his lyrical landscape paintings. With crisp light and line, and an astounding formal simplicity, Macqueen’s watercolours are patently modern, infusing in the genteel medium a dynamic vitality. The post-war decades in Australia were characterised by optimism, protectionism, and the creation of a national idiom in landscape painting, rehabilitating the impressionist ideal of the Australian pastoral.2 In attempting to adapt landscape painting to the specificities of the Australian environment and to the stylised techniques of Modern painting, Macqueen joined pioneering Sydney modernists Elioth Gruner, Roland Wakelin and Roy de Maistre, exhibiting with them annually at Society of Artists and Contemporary Group exhibitions.
After serving in the First World War, Macqueen returned to Australia and, with his brother, purchased a farm in Queensland’s Darling Downs. From 1922, the artist lived there, at Murralah, situated on the crest of a hill near Millmerran, working the land and enjoying its panoramic views of undulating hills and sweeping skies. Macqueen’s watercolours display a strong formalist and graphic impulse, featuring bold lines and panes of vibrant colour in semi-abstract compositions. Having mapped out the stylised forms of the landscape in pencil en plein air, Macqueen worked quickly in the studio, systematically applying wet-on-wet washes of watercolour pigment and often leaving areas of his white paper support untouched. The resulting patterns, while simple and easily legible, are characterised by a sense of freshness and spontaneity.

Forming a chronicle of life in rural Queensland, Macqueen’s subjects were an immediate and truthful depiction of his experience: planting, harvesting, ploughing and fencing. Finding solace in the monotony of rural life, Macqueen delighted in the stillness and expansive space. Bodumba Lands, 1927 is a crisp sweeping view of the immediate surrounds of Millmeran, with rolling peaks and contrasting strips of recently tilled fields. Farmer’s Fence, 1928, similarly traces the sinuous man-made profiles of a fence and worn path against a dramatic backdrop of a young crop of wheat and freshly ploughed hill. In the 1930s and 1940s, Macqueen made regular holiday trips to the Sunshine and Gold Coasts, creating dramatic paintings of the coastline and sea, as can be seen in Early Morning, 1934 and Sea and Reef, c.1938. Amongst the Paperbarks, a mature work focussed on formal patterns, explores the shadows and forms of a eucalypt forest, punctuated by a flowering banksia in the foreground.

1. Macqueen, K., Adventures in Watercolour, The Legend Press, Sydney, 1948
2. Edwards, D., ‘Landscapes of Modernity 1920s – 1940s’, Sydney Moderns, Art Gallery of New South Wales, 2012, p. 217

LUCIE REEVES-SMITH

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Macqueen Kenneth

Reference: see Deutscher and Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 28 August 2019 for 8 works, lots 32 36, with short catalogue essay. From the Ken and Joan Plomley Collection.
IMPORTANT WORKS BY KENNETH MACQUEEN

IMPORTANT AUSTRALIAN AND INTERNATIONAL FINE ART
SYDNEY- 28 AUGUST 2019

‘I try in my work to express the joy of living […] Australia is not a sinister country, nor is she harsh. Her bush is not drab. It is full of gaiety if one will trouble to seek. She has her grim moods […] and there is always the glory of her skies, and when she smiles, it is of transcending beauty’.1
KENNETH MACQUEEN - SUPPLEMENTARY IMAGE.JPG

KENNETH MACQUEEN
photo by Revan Macqueen

Kenneth Macqueen embodied the romantic figure of the farmer-artist, a man whose love and appreciation of the land upon which he lived shone through in his lyrical landscape paintings. With crisp light and line, and an astounding formal simplicity, Macqueen’s watercolours are patently modern, infusing in the genteel medium a dynamic vitality. The post-war decades in Australia were characterised by optimism, protectionism, and the creation of a national idiom in landscape painting, rehabilitating the impressionist ideal of the Australian pastoral.2 In attempting to adapt landscape painting to the specificities of the Australian environment and to the stylised techniques of Modern painting, Macqueen joined pioneering Sydney modernists Elioth Gruner, Roland Wakelin and Roy de Maistre, exhibiting with them annually at Society of Artists and Contemporary Group exhibitions.
After serving in the First World War, Macqueen returned to Australia and, with his brother, purchased a farm in Queensland’s Darling Downs. From 1922, the artist lived there, at Murralah, situated on the crest of a hill near Millmerran, working the land and enjoying its panoramic views of undulating hills and sweeping skies. Macqueen’s watercolours display a strong formalist and graphic impulse, featuring bold lines and panes of vibrant colour in semi-abstract compositions. Having mapped out the stylised forms of the landscape in pencil en plein air, Macqueen worked quickly in the studio, systematically applying wet-on-wet washes of watercolour pigment and often leaving areas of his white paper support untouched. The resulting patterns, while simple and easily legible, are characterised by a sense of freshness and spontaneity.

Forming a chronicle of life in rural Queensland, Macqueen’s subjects were an immediate and truthful depiction of his experience: planting, harvesting, ploughing and fencing. Finding solace in the monotony of rural life, Macqueen delighted in the stillness and expansive space. Bodumba Lands, 1927 is a crisp sweeping view of the immediate surrounds of Millmeran, with rolling peaks and contrasting strips of recently tilled fields. Farmer’s Fence, 1928, similarly traces the sinuous man-made profiles of a fence and worn path against a dramatic backdrop of a young crop of wheat and freshly ploughed hill. In the 1930s and 1940s, Macqueen made regular holiday trips to the Sunshine and Gold Coasts, creating dramatic paintings of the coastline and sea, as can be seen in Early Morning, 1934 and Sea and Reef, c.1938. Amongst the Paperbarks, a mature work focussed on formal patterns, explores the shadows and forms of a eucalypt forest, punctuated by a flowering banksia in the foreground.

1. Macqueen, K., Adventures in Watercolour, The Legend Press, Sydney, 1948
2. Edwards, D., ‘Landscapes of Modernity 1920s – 1940s’, Sydney Moderns, Art Gallery of New South Wales, 2012, p. 217

LUCIE REEVES-SMITH

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Hardwicke Frederick attributedview full entry

Reference: see Deutscher and Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 28 August 2019. lot 72:
72
ATTRIBUTED TO FREDERIC HARDWICKE
FANNY HARDWICKE: A NATIVE WITH A RINGTAILED POSSUM, VAN DIEMEN’S LAND, c.1822 – 24
ink and watercolour on paper
27.5 x 22.0 cm
inscribed with title lower centre: Fanny Hardwick [sic] / a native with a ringtailed possum, of / Van deimans [sic] Land.
PROVENANCE
Private collection
Leonard Joel, Melbourne, 7 November 1979, lot 99
Ken and Joan Plomley Collection of Modernist Art, Melbourne
LITERATURE
Plomley, N.J.B (ed.), Friendly Mission: the Tasmanian journals and papers of George Augustus Robinson, 1829-1834, Tasmanian Historical Research Association, Bellerive, Tasmania, 1966, p. 105
Anderson, S., Charles Browne Hardwicke: an Early Tasmanian Pioneer, Wentworth Books, Sydney, 1978, pp. 60, 61 (illus.), 63
Fletcher, M., Costume in Australia, 1788-1901, Oxford University Press, Melbourne, 1984, pl. 6 (illus.), p. 31
Broadbent, J., and Hughes, J. (eds), The Age of Macquarie, Melbourne University Press, Melbourne, 1992, p. 151 (illus.)
Kerr, J. (ed.), The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, Oxford University Press, Melbourne, 1992, p. 347 (illus.)
Coleman, D., Romantic Colonization and British Anti-Slavery, Cambridge University Press, New York, 2005, fig. 14, pp. 196 (illus.), 197 – 98
RELATED WORKS
Other examples of this print are held in the collections of the National Gallery of Australia, Canberra; the Art Gallery of New South Wales, Sydney; and the Ballarat Fine Art Gallery, Victoria
CATALOGUE TEXT
The separation of indigenous children from their families and their institutionalization or adoption by Europeans is a familiar colonial-ethnocidal practice. The existence of such abuses in the Australian setting is well-known, being most recently and most comprehensively documented in the Bringing them home report.1 They were certainly commonplace in early settler Van Diemen’s Land – indeed, well before the Black War of the late 1820s, we find Lt-Gov. William Sorell making reference to the ‘Outrages of Miscreants … who sometimes wantonly fire at and kill the Men, and at others pursue the Women for the purpose of compelling them to abandon their Children…’.2 At the 2019 Dark Mofo festival, as part of the outdoor exhibition Dark Path, contemporary Trawlwoolway artist Julie Gough presented a haunting installation entitled Missing or Dead. This work – comprising ‘wanted’ posters attached to trees in the bush of the Hobart Domain – documents the lives of 185 Tasmanian Aboriginal stolen children whose traces Gough has been able to find in settler archives.

In addition to written records, the tragic lives of these orphan First Nations children of Van Diemen’s Land are recorded in two poignant watercolour portraits. One is Thomas Bock’s well-known image of Mathinna, a Lowreenne girl born in exile on Flinders Island in 1835. She was ‘given’ to Lt-Gov. Sir John Franklin and his wife in 1840, only to be abandoned to the Queen’s Orphan School when the vice-regal couple returned to England three years later. Bock’s drawing shows the ‘unconquerable’3 seven-year-old wearing a ‘red frock. Like my father’,4 but with bare feet.5

The present work, though obviously not as carefully-observed or technically adept as Bock’s, has a comparable historical significance and a similar affective power. Like Mathinna, Fanny Hardwicke is doll-dressed in European clothes – in this case an empire line printed muslin day dress, with capped long sleeves and a triple-tucked hem. She, too, is without shoes. However, it is not the pathos of a barefoot black child in a cast-off English dress that gives this work its appeal, but rather the evident strong character of the sitter. Fanny’s gaze is direct and open, and her cherry-lipped mouth smiles warmly at the viewer. In her right hand she holds by the tail what is evidently a pet, but which also serves as a sign of her Aboriginality: a little ring-tailed possum (Pseudocheirus peregrinus).

Although the name Frances was not uncommon in this period, and there has been some confusion between the several Indigenous Fannys that appear in the archive,6 it seems likely that Fanny Hardwicke is the sealer’s woman interviewed by George Augustus Robinson in the Hobart Town Gaol in October 1829. Robinson’s journal describes ‘Fanny, who speaks English well and knows not a word of the aboriginal tongue,’ clear evidence of a settler upbringing, though she evidently retained the native name Mitteyer. Robinson also notes ‘that she could navigate a schooner, could hand reef and steer. In make she was of middle stature, strong and very robust, and of quick intellect; and had been baptised by a clergyman at Launceston, Reverend Youl’.7 Originally a Trawlwoolway from Ringarooma, at the time of her meeting with Robinson, Fanny was the companion of a Bass Strait sealer named Baker, later living and working with ‘Norfolk Island Jack’ Williams, both at the Kent Group and on Kangaroo Island.

The northern Tasmanian settler who presumably raised the girl was Charles Hardwicke, a former Royal Navy officer who arrived in Sydney on the infamous General Hewart voyage of 1814.8 Granted permission to remain in the colony and awarded a land grant of 200 acres, Hardwicke established a successful pastoral venture at Norfolk Plains (Longford).9 According to a descendant, ‘Hardwicke extended kindness to the native Tasmanians, and had one of them in his home as a servant, and sought to educate and train her’.10

The drawing is evidently the work of an amateur, and in Joan Kerr’s Dictionary of Australian Artists… it is attributed to Hardwicke himself.11 However, it is worth noting that Charles’ younger brother Frederic, who arrived in the colony in 1822, was at least something of an artist; Charles’ chart of his maritime expedition from Port Dalrymple to North West Cape in that same year is illustrated with three landscape sketches by Frederic.12 It is here proposed that Frederic is the artist of the present work.

1. Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families, Human Rights and Equal Opportunity Commission, Commonwealth of Australia, Canberra, 1997
2. ‘Government and General Orders’, Hobart Town Gazette and Southern Reporter, Hobart, 13 March 1819, p. 1
3. The adjective is Lady Franklin’s, from a letter to her sister of February 1843, quoted in Kolenberg, H., ‘Unconquerable spirit’, in Thomas, D. (ed.), Creating Australia: 200 years of art 1788-1988, International Cultural Corporation of Australia/Art Gallery Board of South Australia, Adelaide, 1988, p. 95
4. Letter to Lady Franklin 14 November 1841, transcribed by Mathinna’s adoptive sister Eleanor Franklin, National Library of Australia, Gell and Franklin family papers 1800-1955 (Australian Joint Copying Project), Reel M379
5. The fragmentary letter also says ‘I have got sore feet and shoes and stockings.’ In a classic piece of cultural sublimation, for many years the drawing was housed in an oval mount which obscured the child’s obnoxious pedal extremities.
6. Two others are listed by N.J.B. Plomley from the journals of George Augustus Robinson: an adolescent girl who died in 1831 and Wutapuwitja (Wortabowidgee), also known as ‘Jock’, who was the wife of Tunnerminnerwait (‘Jack’), one of Robinson’s ‘friendly natives.’ Curiously, the eldest child of Charles Hardwicke, Fanny’s presumed adoptive father, was also named Frances (b. 1820).
7. Plomley, N.J.B., (ed.), Friendly Mission: the Tasmanian Journals and Papers of George Augustus Robinson 1829-1834, Queen Victoria Museum and Art Gallery/Quintus Publishing, Launceston, second edition, 2008, pp. 91 – 92. Baptismal records show that Rev. Youl baptised a ’native child of about eleven years of age’ on 12 January 1820. Church Registers of the Anglican Parish of St John’s, Launceston, Archives Office of Tasmania, NS748/1/3
8. See Bateson, C., The Convict Ships, Library of Australian History, Sydney, 2004, pp. 198 – 199
9. By 1829 his landholdings had expanded to a total of 3,000 acres; he is today largely remembered as a pioneer of horse-breeding and racing in Tasmania. See Pretyman, E.R., 'Hardwicke, Charles Browne (1788–1880)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/hardwicke-charles-browne-2154/text2751, published first in hardcopy 1966, accessed online 13 July 2019.
10. Anderson, S., Charles Browne Hardwicke: an Early Tasmanian Pioneer, Wentworth Books, Sydney, 1978, p. 63
11. Kerr, J. (ed.), The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, Oxford University Press, Melbourne, 1992, pp. 346 – 7. Kerr’s even more determinedly feminist online successor, Design and Art Australia Online suggests the drawing may be by Charles’ wife Elizabeth (née Chapman). See https://www.daao.org.au/bio/charles-browne-hardwicke/ (accessed 16 July 2019)
12. Archives office of Tasmania, 343/1/3. Frederic’s technical understanding is illuminated in a remark in a letter from his brother to Lt-Gov. Sorell: ‘My brother … begs me to assure your honour that he is sorry for not being able to furnish some views he had taken, by this conveyance, for the want of two or three particular colours, but hopes soon to be able to send them.’ Letter, 23 January 1824, quoted in Anderson, op. cit., p. 35

Dr David Hansen
Associate Professor, Centre for Art History and Art Theory, School of Art and Design, Australian National University

×

Hardwicke Frederick attributed

Reference: see Deutscher and Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 28 August 2019. lot 72:
72
ATTRIBUTED TO FREDERIC HARDWICKE
FANNY HARDWICKE: A NATIVE WITH A RINGTAILED POSSUM, VAN DIEMEN’S LAND, c.1822 – 24
ink and watercolour on paper
27.5 x 22.0 cm
inscribed with title lower centre: Fanny Hardwick [sic] / a native with a ringtailed possum, of / Van deimans [sic] Land.
PROVENANCE
Private collection
Leonard Joel, Melbourne, 7 November 1979, lot 99
Ken and Joan Plomley Collection of Modernist Art, Melbourne
LITERATURE
Plomley, N.J.B (ed.), Friendly Mission: the Tasmanian journals and papers of George Augustus Robinson, 1829-1834, Tasmanian Historical Research Association, Bellerive, Tasmania, 1966, p. 105
Anderson, S., Charles Browne Hardwicke: an Early Tasmanian Pioneer, Wentworth Books, Sydney, 1978, pp. 60, 61 (illus.), 63
Fletcher, M., Costume in Australia, 1788-1901, Oxford University Press, Melbourne, 1984, pl. 6 (illus.), p. 31
Broadbent, J., and Hughes, J. (eds), The Age of Macquarie, Melbourne University Press, Melbourne, 1992, p. 151 (illus.)
Kerr, J. (ed.), The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, Oxford University Press, Melbourne, 1992, p. 347 (illus.)
Coleman, D., Romantic Colonization and British Anti-Slavery, Cambridge University Press, New York, 2005, fig. 14, pp. 196 (illus.), 197 – 98
RELATED WORKS
Other examples of this print are held in the collections of the National Gallery of Australia, Canberra; the Art Gallery of New South Wales, Sydney; and the Ballarat Fine Art Gallery, Victoria
CATALOGUE TEXT
The separation of indigenous children from their families and their institutionalization or adoption by Europeans is a familiar colonial-ethnocidal practice. The existence of such abuses in the Australian setting is well-known, being most recently and most comprehensively documented in the Bringing them home report.1 They were certainly commonplace in early settler Van Diemen’s Land – indeed, well before the Black War of the late 1820s, we find Lt-Gov. William Sorell making reference to the ‘Outrages of Miscreants … who sometimes wantonly fire at and kill the Men, and at others pursue the Women for the purpose of compelling them to abandon their Children…’.2 At the 2019 Dark Mofo festival, as part of the outdoor exhibition Dark Path, contemporary Trawlwoolway artist Julie Gough presented a haunting installation entitled Missing or Dead. This work – comprising ‘wanted’ posters attached to trees in the bush of the Hobart Domain – documents the lives of 185 Tasmanian Aboriginal stolen children whose traces Gough has been able to find in settler archives.

In addition to written records, the tragic lives of these orphan First Nations children of Van Diemen’s Land are recorded in two poignant watercolour portraits. One is Thomas Bock’s well-known image of Mathinna, a Lowreenne girl born in exile on Flinders Island in 1835. She was ‘given’ to Lt-Gov. Sir John Franklin and his wife in 1840, only to be abandoned to the Queen’s Orphan School when the vice-regal couple returned to England three years later. Bock’s drawing shows the ‘unconquerable’3 seven-year-old wearing a ‘red frock. Like my father’,4 but with bare feet.5

The present work, though obviously not as carefully-observed or technically adept as Bock’s, has a comparable historical significance and a similar affective power. Like Mathinna, Fanny Hardwicke is doll-dressed in European clothes – in this case an empire line printed muslin day dress, with capped long sleeves and a triple-tucked hem. She, too, is without shoes. However, it is not the pathos of a barefoot black child in a cast-off English dress that gives this work its appeal, but rather the evident strong character of the sitter. Fanny’s gaze is direct and open, and her cherry-lipped mouth smiles warmly at the viewer. In her right hand she holds by the tail what is evidently a pet, but which also serves as a sign of her Aboriginality: a little ring-tailed possum (Pseudocheirus peregrinus).

Although the name Frances was not uncommon in this period, and there has been some confusion between the several Indigenous Fannys that appear in the archive,6 it seems likely that Fanny Hardwicke is the sealer’s woman interviewed by George Augustus Robinson in the Hobart Town Gaol in October 1829. Robinson’s journal describes ‘Fanny, who speaks English well and knows not a word of the aboriginal tongue,’ clear evidence of a settler upbringing, though she evidently retained the native name Mitteyer. Robinson also notes ‘that she could navigate a schooner, could hand reef and steer. In make she was of middle stature, strong and very robust, and of quick intellect; and had been baptised by a clergyman at Launceston, Reverend Youl’.7 Originally a Trawlwoolway from Ringarooma, at the time of her meeting with Robinson, Fanny was the companion of a Bass Strait sealer named Baker, later living and working with ‘Norfolk Island Jack’ Williams, both at the Kent Group and on Kangaroo Island.

The northern Tasmanian settler who presumably raised the girl was Charles Hardwicke, a former Royal Navy officer who arrived in Sydney on the infamous General Hewart voyage of 1814.8 Granted permission to remain in the colony and awarded a land grant of 200 acres, Hardwicke established a successful pastoral venture at Norfolk Plains (Longford).9 According to a descendant, ‘Hardwicke extended kindness to the native Tasmanians, and had one of them in his home as a servant, and sought to educate and train her’.10

The drawing is evidently the work of an amateur, and in Joan Kerr’s Dictionary of Australian Artists… it is attributed to Hardwicke himself.11 However, it is worth noting that Charles’ younger brother Frederic, who arrived in the colony in 1822, was at least something of an artist; Charles’ chart of his maritime expedition from Port Dalrymple to North West Cape in that same year is illustrated with three landscape sketches by Frederic.12 It is here proposed that Frederic is the artist of the present work.

1. Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families, Human Rights and Equal Opportunity Commission, Commonwealth of Australia, Canberra, 1997
2. ‘Government and General Orders’, Hobart Town Gazette and Southern Reporter, Hobart, 13 March 1819, p. 1
3. The adjective is Lady Franklin’s, from a letter to her sister of February 1843, quoted in Kolenberg, H., ‘Unconquerable spirit’, in Thomas, D. (ed.), Creating Australia: 200 years of art 1788-1988, International Cultural Corporation of Australia/Art Gallery Board of South Australia, Adelaide, 1988, p. 95
4. Letter to Lady Franklin 14 November 1841, transcribed by Mathinna’s adoptive sister Eleanor Franklin, National Library of Australia, Gell and Franklin family papers 1800-1955 (Australian Joint Copying Project), Reel M379
5. The fragmentary letter also says ‘I have got sore feet and shoes and stockings.’ In a classic piece of cultural sublimation, for many years the drawing was housed in an oval mount which obscured the child’s obnoxious pedal extremities.
6. Two others are listed by N.J.B. Plomley from the journals of George Augustus Robinson: an adolescent girl who died in 1831 and Wutapuwitja (Wortabowidgee), also known as ‘Jock’, who was the wife of Tunnerminnerwait (‘Jack’), one of Robinson’s ‘friendly natives.’ Curiously, the eldest child of Charles Hardwicke, Fanny’s presumed adoptive father, was also named Frances (b. 1820).
7. Plomley, N.J.B., (ed.), Friendly Mission: the Tasmanian Journals and Papers of George Augustus Robinson 1829-1834, Queen Victoria Museum and Art Gallery/Quintus Publishing, Launceston, second edition, 2008, pp. 91 – 92. Baptismal records show that Rev. Youl baptised a ’native child of about eleven years of age’ on 12 January 1820. Church Registers of the Anglican Parish of St John’s, Launceston, Archives Office of Tasmania, NS748/1/3
8. See Bateson, C., The Convict Ships, Library of Australian History, Sydney, 2004, pp. 198 – 199
9. By 1829 his landholdings had expanded to a total of 3,000 acres; he is today largely remembered as a pioneer of horse-breeding and racing in Tasmania. See Pretyman, E.R., 'Hardwicke, Charles Browne (1788–1880)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/hardwicke-charles-browne-2154/text2751, published first in hardcopy 1966, accessed online 13 July 2019.
10. Anderson, S., Charles Browne Hardwicke: an Early Tasmanian Pioneer, Wentworth Books, Sydney, 1978, p. 63
11. Kerr, J. (ed.), The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, Oxford University Press, Melbourne, 1992, pp. 346 – 7. Kerr’s even more determinedly feminist online successor, Design and Art Australia Online suggests the drawing may be by Charles’ wife Elizabeth (née Chapman). See https://www.daao.org.au/bio/charles-browne-hardwicke/ (accessed 16 July 2019)
12. Archives office of Tasmania, 343/1/3. Frederic’s technical understanding is illuminated in a remark in a letter from his brother to Lt-Gov. Sorell: ‘My brother … begs me to assure your honour that he is sorry for not being able to furnish some views he had taken, by this conveyance, for the want of two or three particular colours, but hopes soon to be able to send them.’ Letter, 23 January 1824, quoted in Anderson, op. cit., p. 35

Dr David Hansen
Associate Professor, Centre for Art History and Art Theory, School of Art and Design, Australian National University

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Riley W Eview full entry

Reference: see Deutscher and Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 28 August 2019. lot 76
W.E. RILEY
(1807 – 1836)
PORTRAITS OF A PRIZE RAM AND EWE, 1828
lithograph
22.5 x 29.5 cm
inscribed below image: Exhibited at Paramatta Oct. 1828 before the Agricultural Society of New South Wales from the Electoral Saxon flocks of Raby.
ESTIMATE: 
$4,000 – 6,000
request condition report
enquire
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absentee bid
telephone bid
PROVENANCE
Private collection
Deutscher Fine Art, Melbourne
Ken and Joan Plomley Collection of Modernist Art, Melbourne, acquired from the above in 1987
EXHIBITED
Australian and Australian-Related Art: 1830s-1970s, Deutscher Fine Art, Melbourne, 25 November – 11 December 1987, cat. 2 (illus. in exhibition catalogue)
RELATED WORKS
Other examples of this print are held in the collections of the Museum of Applied Arts and Sciences, Sydney and the National Library of Australia, Canberra

×

Riley W E

Reference: see Deutscher and Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 28 August 2019. lot 76
W.E. RILEY
(1807 – 1836)
PORTRAITS OF A PRIZE RAM AND EWE, 1828
lithograph
22.5 x 29.5 cm
inscribed below image: Exhibited at Paramatta Oct. 1828 before the Agricultural Society of New South Wales from the Electoral Saxon flocks of Raby.
ESTIMATE: 
$4,000 – 6,000
request condition report
enquire
share
register to bid at auction
absentee bid
telephone bid
PROVENANCE
Private collection
Deutscher Fine Art, Melbourne
Ken and Joan Plomley Collection of Modernist Art, Melbourne, acquired from the above in 1987
EXHIBITED
Australian and Australian-Related Art: 1830s-1970s, Deutscher Fine Art, Melbourne, 25 November – 11 December 1987, cat. 2 (illus. in exhibition catalogue)
RELATED WORKS
Other examples of this print are held in the collections of the Museum of Applied Arts and Sciences, Sydney and the National Library of Australia, Canberra

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Wilson Hadynview full entry

Reference: see SL Magazine, Spring 2019, article on the artist by Caroline Baum, p18-19
Publishing details: SLNSW, Spring, 2019

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Wilson Hadyn

Reference: see SL Magazine, Spring 2019, article on the artist by Caroline Baum, p18-19

Publishing details: SLNSW, Spring, 2019

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Rae John view full entry

Reference: SL Magazine, Spring 2019, article on the artist by Rachel Franks, pages 28-31 (article o the artist’s habit of doodling).
Publishing details: SLNSW, Spring, 2019
Ref: 136

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Rae John

Reference: SL Magazine, Spring 2019, article on the artist by Rachel Franks, pages 28-31 (article o the artist’s habit of doodling).

Publishing details: SLNSW, Spring, 2019

Location: 136

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Rae John view full entry

Reference: see Bibliographical Society of Australia and New Zealand, 2018 Annual Conference
28–30 November, 7 Paper – Dr Rachel Franks, “A Marginalised History: The Art of John Rae in the Minute Books of the City of Sydney”

×

Rae John

Reference: see Bibliographical Society of Australia and New Zealand, 2018 Annual Conference
28–30 November, 7 Paper – Dr Rachel Franks, “A Marginalised History: The Art of John Rae in the Minute Books of the City of Sydney”

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Officer Mabelview full entry

Reference: see John Nicholson auction, UK, 4 September, 2019, lot 385: Miss Mabel Officer (19th - 20th Century) British. "On the Derwent, Tasmania", Oil on Artist's Board, Signed and Dated 1938, and Inscribed on labels on the reverse, 11" x 16". Exhibited: Royal Academy Exhibition 1939.

×

Officer Mabel

Reference: see John Nicholson auction, UK, 4 September, 2019, lot 385: Miss Mabel Officer (19th - 20th Century) British. "On the Derwent, Tasmania", Oil on Artist's Board, Signed and Dated 1938, and Inscribed on labels on the reverse, 11" x 16". Exhibited: Royal Academy Exhibition 1939.

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Reed Dennis William 1917-1979view full entry

Reference: see John Nicholson auction, UK, 4 September, 2019, lot 432: Denis William Reed (1917-1979) British. "Wedge Tailed Eagle", Study of a Bird, Mixed Media, Signed in Pencil and Inscribed 'Australia & Tasmania', and with the Artist's Studio Stamp on the reverse, 15" x 11". Exhibited: 'Denis Reed Paintings', Royal West of England Academy, Clifton, Bristol, 1992.

×

Reed Dennis William 1917-1979

Reference: see John Nicholson auction, UK, 4 September, 2019, lot 432: Denis William Reed (1917-1979) British. "Wedge Tailed Eagle", Study of a Bird, Mixed Media, Signed in Pencil and Inscribed 'Australia & Tasmania', and with the Artist's Studio Stamp on the reverse, 15" x 11". Exhibited: 'Denis Reed Paintings', Royal West of England Academy, Clifton, Bristol, 1992.

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Allport Cecil collectorview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Allport Cecil collector

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Allport Henry Curzonview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Allport Henry Curzon

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Allport Lilyview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Allport Lily

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Allport Mary Mortonview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Allport Mary Morton

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

Location:

Close

Allport Mortonview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Allport Morton

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Allport Library and Museum of Fine Artview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Allport Library and Museum of Fine Art

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Black Dorrit p 93 192view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Black Dorrit p 93 192

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Blythe Eliza p13-14 112view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Blythe Eliza p13-14 112

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Blythe Eliza p13-14 112view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Blythe Eliza p13-14 112

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Coates Dora Meeson p78view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Coates Dora Meeson p78

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Meeson Dora p78view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Meeson Dora p78

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Hood Betty (Elizabeth)view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Hood Betty (Elizabeth)

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Hood Elizabethview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Hood Elizabeth

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Meredith Louisa Ann p14 17view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Meredith Louisa Ann p14 17

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Proctor Thea p72 74view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Proctor Thea p72 74

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Ritchie Charles various referencesview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Ritchie Charles various references

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Swan Louisa p14 18 55 90view full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Swan Louisa p14 18 55 90

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Walker Mary various referencesview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Walker Mary various references

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

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Walker Mary various referencesview full entry

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

×

Walker Mary various references

Reference: see Miss Lily : a portrait of the artist Curzona Allport by Marian Jameson. [’"Lily Allport, christened Curzona Frances Louise, was a strong woman who lived between two worlds - the old and the new. Born in the nineteenth century to a prominent Hobart family of lawyers, Lily refused to take the expected path of marriage and children. Described by her brother-in-law as 'impudent and headstrong', Lily was determined to become a professional artist. Her drive to follow her own path took her to London and success in the Royal Academy of Arts, and a satisfying life at the centre of the nineteenth-century artistic world. And then in the 1930s, at an age when she might be expected to ease up, she returned to Hobart and set up a printmaking studio, creating a late flowering of works in an entirely different medium."--Back cover.

Notes "This book was published with the general support of the Allport Bequest and the Australian Decorative and Fine Arts Society Hobart." NLA. Includes bibliography (pages 259-261) and index.’]

Publishing details: Hobart, TAS : Fullers Publishing, 2018, 270 pages : colour illustrations, facsimiles, 1 genealogical table, portraits ; 29 cm. 

Location:

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Paris Edmondview full entry

Reference: Album pittoresque d’un voyage autour du monde exécuté par ordre du Gouvernement Francais. Casimir Henricy (1814 - 1900).[’The circumnavigation by Admiral Paris in the Artémis took place between 1837 and 1840. The engravings from the original drawings include a chillingly grim view of the penal colony at Port Arthur (Van Diemen’s Land); the Artémis run aground at Papeete (Tahiti); and a view of Honolulu. The introductory text by Henricy places each engraving in the context of the route taken by the Artémis, which visited Sydney as well as Hobart. Other views include those of Rio de Janeiro, Macao, Calcutta, Muscat etc.
A luxurious large format reissue of the finely engraved illustrations originally published in the Laplace edition of 1841. Forbes writes: ‘This is a deluxe limited edition evidently assembled with the aid of Edmond Paris, who had become a distinguished admiral. Some authorities consider the plates better printed in this edition than in the Laplace text. It has always been a very difficult work to obtain and is found in surprisingly few collections of Pacific voyages’.
Forbes 3535; not in Ferguson.
Scarce. A single example is recorded in Australian collections (State Library of New South Wales).’ From Douglas Stewart Fine Books, 2019].

Publishing details: Paris : Charles Noblet, [1883]. Oblong quarto, red patterned cloth with embossed and gilt pictorial design, spine with gilt lettering (rebacked), all edges gilt, pp 1-8 [text] and 25 leaves with engravings by de Laplante from drawings by Paris
Ref: 1000

×

Paris Edmond

Reference: Album pittoresque d’un voyage autour du monde exécuté par ordre du Gouvernement Francais. Casimir Henricy (1814 - 1900).[’The circumnavigation by Admiral Paris in the Artémis took place between 1837 and 1840. The engravings from the original drawings include a chillingly grim view of the penal colony at Port Arthur (Van Diemen’s Land); the Artémis run aground at Papeete (Tahiti); and a view of Honolulu. The introductory text by Henricy places each engraving in the context of the route taken by the Artémis, which visited Sydney as well as Hobart. Other views include those of Rio de Janeiro, Macao, Calcutta, Muscat etc.
A luxurious large format reissue of the finely engraved illustrations originally published in the Laplace edition of 1841. Forbes writes: ‘This is a deluxe limited edition evidently assembled with the aid of Edmond Paris, who had become a distinguished admiral. Some authorities consider the plates better printed in this edition than in the Laplace text. It has always been a very difficult work to obtain and is found in surprisingly few collections of Pacific voyages’.
Forbes 3535; not in Ferguson.
Scarce. A single example is recorded in Australian collections (State Library of New South Wales).’ From Douglas Stewart Fine Books, 2019].

Publishing details: Paris : Charles Noblet, [1883]. Oblong quarto, red patterned cloth with embossed and gilt pictorial design, spine with gilt lettering (rebacked), all edges gilt, pp 1-8 [text] and 25 leaves with engravings by de Laplante from drawings by Paris

Location: 1000

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Williams Florence Elizabethview full entry

Reference: From Day Fine Art website 2019: ‘Florence Elizbath Williams (17 May 1833- 4 April 1915)
Florence Elizabeth Williams was a painter born in London on 17 May 1833, eldest of the six children of Ralph Thomas, a barrister, and Ann, née Mallett. As Florence later recollected, she learnt much from the child prodigy John Everett Millais (1829-1896) in about 1845 when he was employed for £100 a year by her father-Millais’s first patron-to draw pictures and paint in figures and backgrounds on old oil paintings that Thomas sold. Both had short tempers and Millais abruptly broke the contract after a year, only too conscious that the work was beneath his talents. While he was employed, however, Florence (‘Pobby’), aged about twelve, regularly saw ‘Johnny’ at work at her home and was taken to visit him in his studio. He drew in her sketchbook and corrected her drawings. Her first oil painting, a copy after ‘a small Collins’ (probably Charles Collins, another Pre-Raphaelite), was done with Johnny’s paints. He made her a model stage with a front depicting Apollo in his chariot flanked by the muses of Comedy and Tragedy for which she made the scenery and costumed a tiny articulated wooden lay figure he gave her (which she kept all her life).
Many years later, J.G. Millais claimed in his biography of his father (1899) that the young artist had been exploited by his greedy, ignorant patron ‘Serjeant Thomas’. But ‘Serjeant’ was then a title for a senior barrister, Florence pointed out when she joined battle to defend her long-dead father. She contributed ‘Recollections of Johnny Millais by an early friend’ and a commentary on the biography to Serjeant Thomas and Sir J.E. Millais (London 1901), a pamphlet published privately in brother Ralph’s name. As well as recording her childhood memories, she mentioned that the Thomas and Millais families remained on intimate terms and that she visited Millais’s studio to see Ophelia and A Huguenot before they were sent to the Royal Academy in 1852.
Apart from these lessons Florence had little art training, yet she was painting and selling oil paintings and exhibiting at the Royal Academy [RA] while still in her teens, showing Goat in an Orchard at the RA from 68 Wimpole Street, London in 1852. The following year she showed Juliet and Leonora with the Royal Society of British Artists (Suffolk Street) and Rosa.- Vide Bleak House at the British Institution [BI], the latter for sale at five pounds. From 1 Sergeant’s Inn in 1854 she showed two fruit paintings at the BI, one for sale at five pounds the other at ten, while the following year from 19 Arundel Street she showed at Suffolk Street “Who can have sent me these flowers?” (2 guineas) and A Farm Yard, Westbrook (6 guineas). That year a fruit painting was on offer at the BI for the extremely high price of thirty-five guineas. In 1856, from 36 Norfolk Street, The Strand, another fruit picture was sent to the BI for sale at twenty guineas, along with A Labourer’s Shed, Westbrook , more modestly price at six guineas, and she also had an untitled painting at Suffolk Street for sale at five guineas. At the same venue in 1857 she had A study from nature (six guineas) and Dressed Up (six guineas). She continued to exhibit with the Society of British Artists until 1868, although Dessert (6 guineas) in 1858 was her last exhibit at the British Institution.
On 13 September 1862, Florence Elizabeth Williams married the civil engineer Alfred Williams, a son of (Sir) Edward Leader Williams, an eminent English engineer and member of the well-known Williams family of painters [see F. Reynolds, The Williams Family of Painters , 1975], in St George’s, Leicester Square. They had two children – Edith Florence, known as Edie (1863-1943), and Reginald (1877-1942) – and adopted Minnie (Rozzie) Philpotts (1874-1956). Florence continued to paint after her marriage. In 1863 Mrs Alfred Williams (as she was henceforth catalogued) of Ponfield Villa, Bristol Road, Gloucester showed Lie still, sailor at Suffolk Street for sale at fifteen guineas (the mind boggles, but it was presumably a child admonishing a toy or pet in the light of her other works). She showed The Pets at the Royal Academy in 1864. In 1865 the family came to NSW, Alfred having been put in charge of erecting the Nepean River railway bridge at Penrith after a design by John Whitton, chief engineer of the NSW Railways, who wrote a testimonial for him on 18 January 1867 praising the completed work. Florence Williams’s undated oil view of the Penrith railway bridge (Mitchell Library) was evidently done at this time, since the family returned to England soon after the bridge was completed.
They settled at Farncombe Villa, Godalming, Surrey, from which address Mrs Alfred Williams sent three paintings to Suffolk Street in 1868: Flowers and Parrot (15 guineas), The new book (15 guineas) and A peep at Australia (10 guineas). The last may have been the conventionally composed but vibrantly coloured watercolour view of Sydney Harbour from Hyde Park, initialled ‘F.E.W.’ and dated June 1866, auctioned by Deutscher-Menzies in Melbourne on 24 November 1999 (lot 44). It was the last time Florence was to exhibit in London; henceforth she showed her paintings in Sydney and Hobart. The Williams came back to Australia in 1873, this time to Tasmania.
From their home at New Town, outside Hobart, Mrs Alfred Williams sent two oils to the 1874 exhibition of the NSW Academy of Art. Both were for sale when they were included among the Academy exhibits at the Agricultural Society of NSW’s Metropolitan Intercolonial Exhibition at Sydney in April 1875. The Dessert (cat.31), a ‘well grouped fruit piece, harmonious in colour, clear and juicy’ (which may have been the work shown with the BI in 1858, although she did different versions of the same subject), won a silver medal and was reported as making the mouth of every fruit-loving visitor water at the sight of it. The other (cat.18), The Lory at Home (1874, private collection, Hobart, initialled ‘F.E. W.’) was a new version of Flowers and Parrot shown in 1868 (which was destroyed in a family fire and is known only from a photograph). It had the same brightly painted bird and local wildflowers in the foreground with an added view of Hobart’s Mount Wellington behind. Praised by the Sydney Mail critic, it was nevertheless considered inferior to the still life: ‘The parrot, perched on a twig, is however wanting in “life” although most carefully painted. The wildflowers in the foreground (Epacris, &c.) are very well done.’ That year at Hood’s Picture Gallery, a commercial gallery in Hobart, ‘an acknowledged connoisseur’, the lawyer and amateur photographer Morton Allport (son of Mary Morton Allport ), purchased a pair of Mrs Williams’s flower paintings, Primroses and Roses .
In 1875 the family returned to Sydney, Alfred having been appointed engineer with the Harbours and Rivers Department. Mrs A. Williams’s Waratah , The Laughing Jackass , The Dessert which won only a certificate of merit this time, Fruit , Love in the Bush and The Doll’s House were among the oil paintings from the NSWAcademy of Art shown in the Fine Arts section of the Metropolitan Intercolonial Exhibition organised by the Agricultural Society of NSW that opened in Sydney on 6 April 1875. All were for sale except The Doll’s House (family collection), which also was awarded a certificate of merit. The subject of this ‘charming little composition’, Edie Williams playing with her doll’s house, was possibly inspired by Millais’s etching, The Baby House 1872 (ill. Josef Lebovic Collectors’ List 1997, no.66, cat. 87), although Mrs Williams’s version is far more personal, detailed and – ironically – early Pre-Raphaelite (perhaps even Bedemeier) in treatment. The early Pre-Raphaelite features of The Doll’s House and a complementary painting, The Story Teller (family collection), an equally detailed, rather frozen oil of Edie reading to her doll, are the purple, blue and acid green colours, the fidelity to nature at the expense of conventional ideas of beauty and, especially, the meticulous detail.
Florence’s paintings seem unique for Australia at the time when domestic genre paintings are almost unknown, the closest equivalents being a few oil paintings of women and children (known only in reproduction) done in Melbourne in the 1870s by the locally-trained Mary Livingstone – who mainly worked as a copyist – and old-fashioned, rather overblown figure paintings produced in Melbourne from the 1860s to the 1880s by the semi-professional painter Chester Earles .
Three more fruit paintings by Mrs. A. Williams followed in 1876, as well as The Pets.One of the fruit pictures collected another certificate of merit, although the Sydney Mail critic now considered such oil studies merely ‘good enough in their way’ and pointed out that they needed to be ‘exceedingly well painted to be attractive’. Yet the previous year the same newspaper (though not necessarily the same anonymous critic) had called her fruit pieces admirable and far more successful than those by J. H. Adamson . Mrs Williams’s fruit painting hung in the 1879 loan exhibition celebrating the opening of the National Art Gallery of New South Wales was later presented to the Sydney Technical College ‘for the benefit of art students’, according to her granddaughter Florence Hope Williams, but it has since disappeared.
In 1880 F.E. Williams was a founding member of the Art Society of NSW (an association for professional artists that had broken away from the more inclusive Academy) and henceforth exhibited regularly with it. At its first exhibition her ‘most attractive and original design’ Ophelia had the highest asking price in the show (£75) and was extravagantly praised by the Bulletin ‘s art critic:
The accuracy of the willows, the realistic painting and elegant arrangement of the flowers, and the chilly depth of the water in which is reflected grass so real that it almost seems to spring upon the banks before the eye, are proofs of the strict adherence both to nature and art, so strikingly manifested in this most attractive and original design.
Again Williams chose a subject made famous by Millais, but her Ophelia (unlocated) was shown ‘standing upon the “envious silver”, the breaking of which is so soon to precipitate her into the cold dark water beneath’, not floating in the stream.
As one of the very few figure paintings in the exhibition Ophelia gained most attention, but her four other oils, predictably ‘charming groups of flowers and one fruit picture’, were also admired, the ‘transparent lusciousness’ of the plums in the latter being especially noted. Primroses and Violets was exhibited in 1880 and 1881 (when it was stated to be a repeat showing from the previous year) and in 1881 she also showed ‘a rather large picture’, On the Brook , ‘a charming tangle of pale primroses, splendid violets, and delicate moss’. More flowers and fruit followed in succeeding years as well as extravagantly praised groups of rabbits (1883) and guinea pigs (1885). James Green (‘De Libra’) called her fruit paintings ‘perfect of their kind’, not unworthy of the popular English still-life painter William Henry (‘Birds’ Nest’) Hunt, while a pair of paintings of peaches she exhibited in 1884 could have been taken ‘for real but for the frames’.
Late in life the Williams lived at Bowral, NSW. Alfred died there in 1913.
Florence died 4th April 1915 ( date sourced by Integrity Resolutions)
Joan Kerr. https://www.daao.org.au/bio/florence-elizabeth-williams/biography/’

×

Williams Florence Elizabeth

Reference: From Day Fine Art website 2019: ‘Florence Elizbath Williams (17 May 1833- 4 April 1915)
Florence Elizabeth Williams was a painter born in London on 17 May 1833, eldest of the six children of Ralph Thomas, a barrister, and Ann, née Mallett. As Florence later recollected, she learnt much from the child prodigy John Everett Millais (1829-1896) in about 1845 when he was employed for £100 a year by her father-Millais’s first patron-to draw pictures and paint in figures and backgrounds on old oil paintings that Thomas sold. Both had short tempers and Millais abruptly broke the contract after a year, only too conscious that the work was beneath his talents. While he was employed, however, Florence (‘Pobby’), aged about twelve, regularly saw ‘Johnny’ at work at her home and was taken to visit him in his studio. He drew in her sketchbook and corrected her drawings. Her first oil painting, a copy after ‘a small Collins’ (probably Charles Collins, another Pre-Raphaelite), was done with Johnny’s paints. He made her a model stage with a front depicting Apollo in his chariot flanked by the muses of Comedy and Tragedy for which she made the scenery and costumed a tiny articulated wooden lay figure he gave her (which she kept all her life).
Many years later, J.G. Millais claimed in his biography of his father (1899) that the young artist had been exploited by his greedy, ignorant patron ‘Serjeant Thomas’. But ‘Serjeant’ was then a title for a senior barrister, Florence pointed out when she joined battle to defend her long-dead father. She contributed ‘Recollections of Johnny Millais by an early friend’ and a commentary on the biography to Serjeant Thomas and Sir J.E. Millais (London 1901), a pamphlet published privately in brother Ralph’s name. As well as recording her childhood memories, she mentioned that the Thomas and Millais families remained on intimate terms and that she visited Millais’s studio to see Ophelia and A Huguenot before they were sent to the Royal Academy in 1852.
Apart from these lessons Florence had little art training, yet she was painting and selling oil paintings and exhibiting at the Royal Academy [RA] while still in her teens, showing Goat in an Orchard at the RA from 68 Wimpole Street, London in 1852. The following year she showed Juliet and Leonora with the Royal Society of British Artists (Suffolk Street) and Rosa.- Vide Bleak House at the British Institution [BI], the latter for sale at five pounds. From 1 Sergeant’s Inn in 1854 she showed two fruit paintings at the BI, one for sale at five pounds the other at ten, while the following year from 19 Arundel Street she showed at Suffolk Street “Who can have sent me these flowers?” (2 guineas) and A Farm Yard, Westbrook (6 guineas). That year a fruit painting was on offer at the BI for the extremely high price of thirty-five guineas. In 1856, from 36 Norfolk Street, The Strand, another fruit picture was sent to the BI for sale at twenty guineas, along with A Labourer’s Shed, Westbrook , more modestly price at six guineas, and she also had an untitled painting at Suffolk Street for sale at five guineas. At the same venue in 1857 she had A study from nature (six guineas) and Dressed Up (six guineas). She continued to exhibit with the Society of British Artists until 1868, although Dessert (6 guineas) in 1858 was her last exhibit at the British Institution.
On 13 September 1862, Florence Elizabeth Williams married the civil engineer Alfred Williams, a son of (Sir) Edward Leader Williams, an eminent English engineer and member of the well-known Williams family of painters [see F. Reynolds, The Williams Family of Painters , 1975], in St George’s, Leicester Square. They had two children – Edith Florence, known as Edie (1863-1943), and Reginald (1877-1942) – and adopted Minnie (Rozzie) Philpotts (1874-1956). Florence continued to paint after her marriage. In 1863 Mrs Alfred Williams (as she was henceforth catalogued) of Ponfield Villa, Bristol Road, Gloucester showed Lie still, sailor at Suffolk Street for sale at fifteen guineas (the mind boggles, but it was presumably a child admonishing a toy or pet in the light of her other works). She showed The Pets at the Royal Academy in 1864. In 1865 the family came to NSW, Alfred having been put in charge of erecting the Nepean River railway bridge at Penrith after a design by John Whitton, chief engineer of the NSW Railways, who wrote a testimonial for him on 18 January 1867 praising the completed work. Florence Williams’s undated oil view of the Penrith railway bridge (Mitchell Library) was evidently done at this time, since the family returned to England soon after the bridge was completed.
They settled at Farncombe Villa, Godalming, Surrey, from which address Mrs Alfred Williams sent three paintings to Suffolk Street in 1868: Flowers and Parrot (15 guineas), The new book (15 guineas) and A peep at Australia (10 guineas). The last may have been the conventionally composed but vibrantly coloured watercolour view of Sydney Harbour from Hyde Park, initialled ‘F.E.W.’ and dated June 1866, auctioned by Deutscher-Menzies in Melbourne on 24 November 1999 (lot 44). It was the last time Florence was to exhibit in London; henceforth she showed her paintings in Sydney and Hobart. The Williams came back to Australia in 1873, this time to Tasmania.
From their home at New Town, outside Hobart, Mrs Alfred Williams sent two oils to the 1874 exhibition of the NSW Academy of Art. Both were for sale when they were included among the Academy exhibits at the Agricultural Society of NSW’s Metropolitan Intercolonial Exhibition at Sydney in April 1875. The Dessert (cat.31), a ‘well grouped fruit piece, harmonious in colour, clear and juicy’ (which may have been the work shown with the BI in 1858, although she did different versions of the same subject), won a silver medal and was reported as making the mouth of every fruit-loving visitor water at the sight of it. The other (cat.18), The Lory at Home (1874, private collection, Hobart, initialled ‘F.E. W.’) was a new version of Flowers and Parrot shown in 1868 (which was destroyed in a family fire and is known only from a photograph). It had the same brightly painted bird and local wildflowers in the foreground with an added view of Hobart’s Mount Wellington behind. Praised by the Sydney Mail critic, it was nevertheless considered inferior to the still life: ‘The parrot, perched on a twig, is however wanting in “life” although most carefully painted. The wildflowers in the foreground (Epacris, &c.) are very well done.’ That year at Hood’s Picture Gallery, a commercial gallery in Hobart, ‘an acknowledged connoisseur’, the lawyer and amateur photographer Morton Allport (son of Mary Morton Allport ), purchased a pair of Mrs Williams’s flower paintings, Primroses and Roses .
In 1875 the family returned to Sydney, Alfred having been appointed engineer with the Harbours and Rivers Department. Mrs A. Williams’s Waratah , The Laughing Jackass , The Dessert which won only a certificate of merit this time, Fruit , Love in the Bush and The Doll’s House were among the oil paintings from the NSWAcademy of Art shown in the Fine Arts section of the Metropolitan Intercolonial Exhibition organised by the Agricultural Society of NSW that opened in Sydney on 6 April 1875. All were for sale except The Doll’s House (family collection), which also was awarded a certificate of merit. The subject of this ‘charming little composition’, Edie Williams playing with her doll’s house, was possibly inspired by Millais’s etching, The Baby House 1872 (ill. Josef Lebovic Collectors’ List 1997, no.66, cat. 87), although Mrs Williams’s version is far more personal, detailed and – ironically – early Pre-Raphaelite (perhaps even Bedemeier) in treatment. The early Pre-Raphaelite features of The Doll’s House and a complementary painting, The Story Teller (family collection), an equally detailed, rather frozen oil of Edie reading to her doll, are the purple, blue and acid green colours, the fidelity to nature at the expense of conventional ideas of beauty and, especially, the meticulous detail.
Florence’s paintings seem unique for Australia at the time when domestic genre paintings are almost unknown, the closest equivalents being a few oil paintings of women and children (known only in reproduction) done in Melbourne in the 1870s by the locally-trained Mary Livingstone – who mainly worked as a copyist – and old-fashioned, rather overblown figure paintings produced in Melbourne from the 1860s to the 1880s by the semi-professional painter Chester Earles .
Three more fruit paintings by Mrs. A. Williams followed in 1876, as well as The Pets.One of the fruit pictures collected another certificate of merit, although the Sydney Mail critic now considered such oil studies merely ‘good enough in their way’ and pointed out that they needed to be ‘exceedingly well painted to be attractive’. Yet the previous year the same newspaper (though not necessarily the same anonymous critic) had called her fruit pieces admirable and far more successful than those by J. H. Adamson . Mrs Williams’s fruit painting hung in the 1879 loan exhibition celebrating the opening of the National Art Gallery of New South Wales was later presented to the Sydney Technical College ‘for the benefit of art students’, according to her granddaughter Florence Hope Williams, but it has since disappeared.
In 1880 F.E. Williams was a founding member of the Art Society of NSW (an association for professional artists that had broken away from the more inclusive Academy) and henceforth exhibited regularly with it. At its first exhibition her ‘most attractive and original design’ Ophelia had the highest asking price in the show (£75) and was extravagantly praised by the Bulletin ‘s art critic:
The accuracy of the willows, the realistic painting and elegant arrangement of the flowers, and the chilly depth of the water in which is reflected grass so real that it almost seems to spring upon the banks before the eye, are proofs of the strict adherence both to nature and art, so strikingly manifested in this most attractive and original design.
Again Williams chose a subject made famous by Millais, but her Ophelia (unlocated) was shown ‘standing upon the “envious silver”, the breaking of which is so soon to precipitate her into the cold dark water beneath’, not floating in the stream.
As one of the very few figure paintings in the exhibition Ophelia gained most attention, but her four other oils, predictably ‘charming groups of flowers and one fruit picture’, were also admired, the ‘transparent lusciousness’ of the plums in the latter being especially noted. Primroses and Violets was exhibited in 1880 and 1881 (when it was stated to be a repeat showing from the previous year) and in 1881 she also showed ‘a rather large picture’, On the Brook , ‘a charming tangle of pale primroses, splendid violets, and delicate moss’. More flowers and fruit followed in succeeding years as well as extravagantly praised groups of rabbits (1883) and guinea pigs (1885). James Green (‘De Libra’) called her fruit paintings ‘perfect of their kind’, not unworthy of the popular English still-life painter William Henry (‘Birds’ Nest’) Hunt, while a pair of paintings of peaches she exhibited in 1884 could have been taken ‘for real but for the frames’.
Late in life the Williams lived at Bowral, NSW. Alfred died there in 1913.
Florence died 4th April 1915 ( date sourced by Integrity Resolutions)
Joan Kerr. https://www.daao.org.au/bio/florence-elizabeth-williams/biography/’

Publishing details:

Location:

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Hirschfeld-Mack Ludwigview full entry

Reference: see (Grisebach auction, Germany, 30 May, 2019, ‘Orangerie Bauhaus Forever’).Lots 277 and 282-293.

282 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Reflektorisches Farbenspiel“. Photographer: Hermann Eckner. 1923

Vintage. Gelatin silver print. 16,9 × 11,9 cm. (6 ⅝ × 4 ⅝ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 25.000 – 30.000
USD 28,100 – 33,700
Lot details
Note lotPlace bid
 
283 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Brochure: „Farben Licht-Spiele. Wesen. Ziele. Kritiken“ and Photography: Ludwig Hirschfeld-Mack (left) and colleague standing next to the light show apparatus. 1925

Brochure with 28 pages – Publisher: Artist#s edition, Weimar / Vintage. Gelatin silver print. Brochure: 12,2 × 19,6 cm / photograph: 10,9 × 8,4 cm (11,3 × 8,9 cm). (4 ¾ × 7 ¾ in. / photograph: 4 ¼ × 3 ¼ in. (4 ½ × 3 ½ in.))
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 3.000 – 4.000
USD 3,370 – 4,490
Lot details
Note lotPlace bid
 
284 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled. 1922

Lithograph, painted in watercolours, on laid paper. 15,5 × 22 cm (24,7 × 31,9 cm). (6 ⅛ × 8 ⅝ in. (9 ¾ × 12 ½ in.))
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
285 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Star dancer – journeyman's piece by the artist. 1922

Colour lithograph on laid paper. 42 × 31,5 cm (64,8 × 48,3 cm). (16 ½ × 12 ⅜ in. (25 ½ × 19 in.))
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 4.000 – 6.000
USD 4,490 – 6,740
Lot details
Note lotPlace bid
 
286 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled (figure in geometric shapes). Circa 1923

Tempera on canvas. 85 × 60 cm. (33 ½ × 23 ⅝ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 25.000 – 35.000
USD 28,100 – 39,300
Lot details
Note lotPlace bid
 
287a Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled (colour gradient shape composition). 1921

Coloured chalk and pencil on tissue paper. 12,3 × 14 cm. (4 ⅞ × 5 ½ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
287b Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled (composition with lines, shapes and circles). 1921

Coloured chalk on tissue paper. 12,3 × 13,7 cm. (4 ⅞ × 5 ⅜ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
287c Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled (figural-ornamental composition). 1921

Coloured chalk and pencil on tissue paper. 12,3 × 13,7 cm. (4 ⅞ × 5 ⅜ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
287d Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Bahnfahrt“. 1921

Coloured chalk and pencil on tissue paper. 12,3 × 14,8 cm. (4 ⅞ × 5 ⅞ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
288 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Bauhaus Ausstellung Weimar 1923 Juli August September“ and programme of the Bauhaus exhibition (leaflet). 1923

Lithograph on light cardboard (postcard) / typography on brownish paper. 10,4 × 15 cm / 16 × 21,8 cm. (4 ⅛ × 5 ⅞ in. / 6 ¼ × 8 ⅝ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
289 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Bauhaus Ausstellung Weimar Sommer 1923“. 1923

Colour lithograph on light cardboard (postcard). 10,6 × 15,4 cm. (4 ⅛ × 6 ⅛ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 1.500 – 2.000
USD 1,690 – 2,250
Lot details
Note lotPlace bid
 
290 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Drachenfest Weimar“. 1922

Lithograph, painted in watercolours, on light cardboard (postcard). 10,5 × 15,5 cm. (4 ⅛ × 6 ⅛ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 1.500 – 2.000
USD 1,690 – 2,250
Lot details
Note lotPlace bid
 
291 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Drachen Fest Weimar“. 1922

Lithograph, painted in watercolours, on light cardboard (postcard). 10,9 × 15,2 cm. (4 ¼ × 6 in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 1.500 – 2.000
USD 1,690 – 2,250
Lot details
Note lotPlace bid
 
292a Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Kostüm für Fasching“. 1920

Watercolour and pencil on paper. 31,4 × 25,3 cm. (12 ⅜ × 10 in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
292b Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Figurine with circle joints. 1921

Gouache and pencil on brownish paper (from a sketch book). 19 × 15,6 cm. (7 ½ × 6 ⅛ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 3.000 – 5.000
USD 3,370 – 5,620
Lot details
Note lotPlace bid
 
292c Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Figurines with yellow stripes. 1921/22

Watercolour and pen and India ink on thin Japan paper. 25,1 × 19,1 cm. (9 ⅞ × 7 ½ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 3.000 – 5.000
USD 3,370 – 5,620
Lot details
Note lotPlace bid
 
292d Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Cylindrical figurines. 1921

Watercolour and pen and India ink on paper. 28 × 18,1 cm. (11 × 7 ⅛ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
293 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Pädagogische Puppenstube“. 1924 / execution 1960

Plywood, lacquered; connecting bars / wooden box. 50 × 50 × 40 cm. (19 ⅝ × 19 ⅝ × 15 ¾ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 8.000 – 10.000
USD 8,990 – 11,200
Lot details

×

Hirschfeld-Mack Ludwig

Reference: see (Grisebach auction, Germany, 30 May, 2019, ‘Orangerie Bauhaus Forever’).Lots 277 and 282-293.

282 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Reflektorisches Farbenspiel“. Photographer: Hermann Eckner. 1923

Vintage. Gelatin silver print. 16,9 × 11,9 cm. (6 ⅝ × 4 ⅝ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 25.000 – 30.000
USD 28,100 – 33,700
Lot details
Note lotPlace bid
 
283 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Brochure: „Farben Licht-Spiele. Wesen. Ziele. Kritiken“ and Photography: Ludwig Hirschfeld-Mack (left) and colleague standing next to the light show apparatus. 1925

Brochure with 28 pages – Publisher: Artist#s edition, Weimar / Vintage. Gelatin silver print. Brochure: 12,2 × 19,6 cm / photograph: 10,9 × 8,4 cm (11,3 × 8,9 cm). (4 ¾ × 7 ¾ in. / photograph: 4 ¼ × 3 ¼ in. (4 ½ × 3 ½ in.))
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 3.000 – 4.000
USD 3,370 – 4,490
Lot details
Note lotPlace bid
 
284 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled. 1922

Lithograph, painted in watercolours, on laid paper. 15,5 × 22 cm (24,7 × 31,9 cm). (6 ⅛ × 8 ⅝ in. (9 ¾ × 12 ½ in.))
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
285 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Star dancer – journeyman's piece by the artist. 1922

Colour lithograph on laid paper. 42 × 31,5 cm (64,8 × 48,3 cm). (16 ½ × 12 ⅜ in. (25 ½ × 19 in.))
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 4.000 – 6.000
USD 4,490 – 6,740
Lot details
Note lotPlace bid
 
286 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled (figure in geometric shapes). Circa 1923

Tempera on canvas. 85 × 60 cm. (33 ½ × 23 ⅝ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 25.000 – 35.000
USD 28,100 – 39,300
Lot details
Note lotPlace bid
 
287a Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled (colour gradient shape composition). 1921

Coloured chalk and pencil on tissue paper. 12,3 × 14 cm. (4 ⅞ × 5 ½ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
287b Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled (composition with lines, shapes and circles). 1921

Coloured chalk on tissue paper. 12,3 × 13,7 cm. (4 ⅞ × 5 ⅜ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
287c Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Untitled (figural-ornamental composition). 1921

Coloured chalk and pencil on tissue paper. 12,3 × 13,7 cm. (4 ⅞ × 5 ⅜ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
287d Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Bahnfahrt“. 1921

Coloured chalk and pencil on tissue paper. 12,3 × 14,8 cm. (4 ⅞ × 5 ⅞ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
288 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Bauhaus Ausstellung Weimar 1923 Juli August September“ and programme of the Bauhaus exhibition (leaflet). 1923

Lithograph on light cardboard (postcard) / typography on brownish paper. 10,4 × 15 cm / 16 × 21,8 cm. (4 ⅛ × 5 ⅞ in. / 6 ¼ × 8 ⅝ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
289 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Bauhaus Ausstellung Weimar Sommer 1923“. 1923

Colour lithograph on light cardboard (postcard). 10,6 × 15,4 cm. (4 ⅛ × 6 ⅛ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 1.500 – 2.000
USD 1,690 – 2,250
Lot details
Note lotPlace bid
 
290 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Drachenfest Weimar“. 1922

Lithograph, painted in watercolours, on light cardboard (postcard). 10,5 × 15,5 cm. (4 ⅛ × 6 ⅛ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 1.500 – 2.000
USD 1,690 – 2,250
Lot details
Note lotPlace bid
 
291 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Drachen Fest Weimar“. 1922

Lithograph, painted in watercolours, on light cardboard (postcard). 10,9 × 15,2 cm. (4 ¼ × 6 in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 1.500 – 2.000
USD 1,690 – 2,250
Lot details
Note lotPlace bid
 
292a Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Kostüm für Fasching“. 1920

Watercolour and pencil on paper. 31,4 × 25,3 cm. (12 ⅜ × 10 in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
292b Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Figurine with circle joints. 1921

Gouache and pencil on brownish paper (from a sketch book). 19 × 15,6 cm. (7 ½ × 6 ⅛ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 3.000 – 5.000
USD 3,370 – 5,620
Lot details
Note lotPlace bid
 
292c Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Figurines with yellow stripes. 1921/22

Watercolour and pen and India ink on thin Japan paper. 25,1 × 19,1 cm. (9 ⅞ × 7 ½ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 3.000 – 5.000
USD 3,370 – 5,620
Lot details
Note lotPlace bid
 
292d Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
Cylindrical figurines. 1921

Watercolour and pen and India ink on paper. 28 × 18,1 cm. (11 × 7 ⅛ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 2.000 – 3.000
USD 2,250 – 3,370
Lot details
Note lotPlace bid
 
293 Ludwig Hirschfeld-Mack
Frankfurt am Main 1893 – 1965 Sydney
„Pädagogische Puppenstube“. 1924 / execution 1960

Plywood, lacquered; connecting bars / wooden box. 50 × 50 × 40 cm. (19 ⅝ × 19 ⅝ × 15 ¾ in.)
Auction 305
Thursday, 30 May 2019 
02:00 PM
EUR 8.000 – 10.000
USD 8,990 – 11,200
Lot details

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Law Benjamin 1807-1890 portrait of Woureddyview full entry

Reference: see Sotheby’s Australia, email to clients 20 May, 2019:
Important Australian Art for Private Sale - Benjamin Law 1807-1890.
Sotheby's Australia is pleased to offer Benjamin Law’s highly important Woureddy: An Aboriginal Chief of Van Diemen’s Land (1835) for private sale.
Benjamin Law is regarded as the first professional European sculptor to work in Australia and his exceptional portrait busts of Woorrady (died 1842) and his partner Trukanini (circa 1812-1876), remain amongst the most renowned compositions of the period. Woorrady, a Nuennone man from Bruny Island, was a skilled hunter, boat builder and storyteller who spoke five dialects.  Trukanini is arguably nineteenth-century Australia’s most celebrated Indigenous leader.
Woureddy: An Aboriginal Chief of Van Diemen’s Land is considered Australia’s first portrait sculpture.  Examples from the original casts are held in public Australian and international collections, including the Art Gallery of Western Australia, Perth; Australian Museum, Canberra; British Museum, London; Field Museum, Chicago; Musée de l’Homme, Paris; National Gallery of Australia, Canberra; Queen Victoria Museum & Art Gallery, Launceston; South Australian Museum, Adelaide; Tasmanian Museum & Art Gallery, Hobart; and The University of Edinburgh, Edinburgh.

×

Law Benjamin 1807-1890 portrait of Woureddy

Reference: see Sotheby’s Australia, email to clients 20 May, 2019:
Important Australian Art for Private Sale - Benjamin Law 1807-1890.
Sotheby's Australia is pleased to offer Benjamin Law’s highly important Woureddy: An Aboriginal Chief of Van Diemen’s Land (1835) for private sale.
Benjamin Law is regarded as the first professional European sculptor to work in Australia and his exceptional portrait busts of Woorrady (died 1842) and his partner Trukanini (circa 1812-1876), remain amongst the most renowned compositions of the period. Woorrady, a Nuennone man from Bruny Island, was a skilled hunter, boat builder and storyteller who spoke five dialects.  Trukanini is arguably nineteenth-century Australia’s most celebrated Indigenous leader.
Woureddy: An Aboriginal Chief of Van Diemen’s Land is considered Australia’s first portrait sculpture.  Examples from the original casts are held in public Australian and international collections, including the Art Gallery of Western Australia, Perth; Australian Museum, Canberra; British Museum, London; Field Museum, Chicago; Musée de l’Homme, Paris; National Gallery of Australia, Canberra; Queen Victoria Museum & Art Gallery, Launceston; South Australian Museum, Adelaide; Tasmanian Museum & Art Gallery, Hobart; and The University of Edinburgh, Edinburgh.

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Dumaresq Williamview full entry

Reference: see Cheffins Auction UK, 12-13 June, 2019, lot 126: Captain William Dumaresq (1793-1868) and Colonel Henry Dumaresq (1792-1838) "Les Trois Couronnes, Pyrenese, the river Neville in the foreground", watercolour, 22 x 33 cm (8.5 x 13in); together with a watercolour by Agnes Dumaresq, 1887, inscribed verso "Villars, Rhone Valley, Suisse", 12.5 x 17.5 cm (5 x 7in) (2)
Provenance: The Dumaresq family and by descent Other Notes: The brothers, Captain William and Colonel Henry Dumaresq, were both stationed in the colony of New South Wales, Australia. William was a brother-in-law to General (Sir) Ralph Darling, who was appointed governor of New South Wales in 1824. While William was enlisted as a civil engineer and Deputy Surveyor General, his brother Henry was Military Secretary to Governor Darling. In return for his services, the latter was granted a 12,000 acre-estate at St. Helier's in Muswellbrook. The identification of the present scene as "Les Trois Couronnes, Pyrenese", on the label to the reverse is therefore probably wrong and it is more likely to be of Australia.

×

Dumaresq William

Reference: see Cheffins Auction UK, 12-13 June, 2019, lot 126: Captain William Dumaresq (1793-1868) and Colonel Henry Dumaresq (1792-1838) "Les Trois Couronnes, Pyrenese, the river Neville in the foreground", watercolour, 22 x 33 cm (8.5 x 13in); together with a watercolour by Agnes Dumaresq, 1887, inscribed verso "Villars, Rhone Valley, Suisse", 12.5 x 17.5 cm (5 x 7in) (2)
Provenance: The Dumaresq family and by descent Other Notes: The brothers, Captain William and Colonel Henry Dumaresq, were both stationed in the colony of New South Wales, Australia. William was a brother-in-law to General (Sir) Ralph Darling, who was appointed governor of New South Wales in 1824. While William was enlisted as a civil engineer and Deputy Surveyor General, his brother Henry was Military Secretary to Governor Darling. In return for his services, the latter was granted a 12,000 acre-estate at St. Helier's in Muswellbrook. The identification of the present scene as "Les Trois Couronnes, Pyrenese", on the label to the reverse is therefore probably wrong and it is more likely to be of Australia.

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Dumaresq Henryview full entry

Reference: see Cheffins Auction UK, 12-13 June, 2019, lot 126: Captain William Dumaresq (1793-1868) and Colonel Henry Dumaresq (1792-1838) "Les Trois Couronnes, Pyrenese, the river Neville in the foreground", watercolour, 22 x 33 cm (8.5 x 13in); together with a watercolour by Agnes Dumaresq, 1887, inscribed verso "Villars, Rhone Valley, Suisse", 12.5 x 17.5 cm (5 x 7in) (2)
Provenance: The Dumaresq family and by descent Other Notes: The brothers, Captain William and Colonel Henry Dumaresq, were both stationed in the colony of New South Wales, Australia. William was a brother-in-law to General (Sir) Ralph Darling, who was appointed governor of New South Wales in 1824. While William was enlisted as a civil engineer and Deputy Surveyor General, his brother Henry was Military Secretary to Governor Darling. In return for his services, the latter was granted a 12,000 acre-estate at St. Helier's in Muswellbrook. The identification of the present scene as "Les Trois Couronnes, Pyrenese", on the label to the reverse is therefore probably wrong and it is more likely to be of Australia.

×

Dumaresq Henry

Reference: see Cheffins Auction UK, 12-13 June, 2019, lot 126: Captain William Dumaresq (1793-1868) and Colonel Henry Dumaresq (1792-1838) "Les Trois Couronnes, Pyrenese, the river Neville in the foreground", watercolour, 22 x 33 cm (8.5 x 13in); together with a watercolour by Agnes Dumaresq, 1887, inscribed verso "Villars, Rhone Valley, Suisse", 12.5 x 17.5 cm (5 x 7in) (2)
Provenance: The Dumaresq family and by descent Other Notes: The brothers, Captain William and Colonel Henry Dumaresq, were both stationed in the colony of New South Wales, Australia. William was a brother-in-law to General (Sir) Ralph Darling, who was appointed governor of New South Wales in 1824. While William was enlisted as a civil engineer and Deputy Surveyor General, his brother Henry was Military Secretary to Governor Darling. In return for his services, the latter was granted a 12,000 acre-estate at St. Helier's in Muswellbrook. The identification of the present scene as "Les Trois Couronnes, Pyrenese", on the label to the reverse is therefore probably wrong and it is more likely to be of Australia.

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Dumaresq Agnesview full entry

Reference: see Cheffins Auction UK, 12-13 June, 2019, lot 126: Captain William Dumaresq (1793-1868) and Colonel Henry Dumaresq (1792-1838) "Les Trois Couronnes, Pyrenese, the river Neville in the foreground", watercolour, 22 x 33 cm (8.5 x 13in); together with a watercolour by Agnes Dumaresq, 1887, inscribed verso "Villars, Rhone Valley, Suisse", 12.5 x 17.5 cm (5 x 7in) (2)
Provenance: The Dumaresq family and by descent Other Notes: The brothers, Captain William and Colonel Henry Dumaresq, were both stationed in the colony of New South Wales, Australia. William was a brother-in-law to General (Sir) Ralph Darling, who was appointed governor of New South Wales in 1824. While William was enlisted as a civil engineer and Deputy Surveyor General, his brother Henry was Military Secretary to Governor Darling. In return for his services, the latter was granted a 12,000 acre-estate at St. Helier's in Muswellbrook. The identification of the present scene as "Les Trois Couronnes, Pyrenese", on the label to the reverse is therefore probably wrong and it is more likely to be of Australia.

×

Dumaresq Agnes

Reference: see Cheffins Auction UK, 12-13 June, 2019, lot 126: Captain William Dumaresq (1793-1868) and Colonel Henry Dumaresq (1792-1838) "Les Trois Couronnes, Pyrenese, the river Neville in the foreground", watercolour, 22 x 33 cm (8.5 x 13in); together with a watercolour by Agnes Dumaresq, 1887, inscribed verso "Villars, Rhone Valley, Suisse", 12.5 x 17.5 cm (5 x 7in) (2)
Provenance: The Dumaresq family and by descent Other Notes: The brothers, Captain William and Colonel Henry Dumaresq, were both stationed in the colony of New South Wales, Australia. William was a brother-in-law to General (Sir) Ralph Darling, who was appointed governor of New South Wales in 1824. While William was enlisted as a civil engineer and Deputy Surveyor General, his brother Henry was Military Secretary to Governor Darling. In return for his services, the latter was granted a 12,000 acre-estate at St. Helier's in Muswellbrook. The identification of the present scene as "Les Trois Couronnes, Pyrenese", on the label to the reverse is therefore probably wrong and it is more likely to be of Australia.

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Blogg John Kendrick 1851-1936view full entry

Reference: see Gibsons Auction, Melbourne, 16 June, 2019, lot 22:
Property from the Estate of John K. Blogg
John Kendrick Blogg (1851 – 1936) 22
Industrial chemist, wood-carver and poet, John K. Blogg was born in Toronto, Canada and migrated to Victoria in 1877, establishing the prosperous Melbourne chemical manufacturing firm J. K. Blogg and Company.
He was a fine woodcarver and furniture maker who settled and worked in Surrey Hills in the early 1900s. He is particularly well- known for his WW1 memorials and honour boards, the most significant of which is The Shrine in the Surrey Gardens. Others were made for the Surrey Hills Primary School, local churches and the Surrey Hills Bowling Club, of which Blogg was a keen member.
Blogg was also known for his poetry and wrote many poems about
roses, WW1 and Surrey Hills. His papers are held in the National $6,000–8,000

lot 23
23
An Australian cedar fall front secretaire desk and chair, circa 1880
144cm high, 91cm wide, 60cm deep
PROVENANCE
By descent from the family of John K. Blogg
NOTE
This secretaire desk and chair were used by John K Blogg throughout his life and latter years writing poetry and sketching his designs for his wood carvings
$2,000–3,000

24
JOHN KENDRICK BLOGG
(1851-1936)
Blackwood chair with carved panel the crest rail panel 41 x 10cm
PROVENANCE
By descent from the family of John K. Blogg
$6,000–8,000
25
A framed insurance document for Mr John K. Blogg from the Commercial Union Assurance Company Limited issued on the 1st September 1890
for cover of 'household furniture and effects...situate Albany Crescent, Surrey Hills in the amount of one hundred twenty five pounds sterling'
the certificate 52 x 42cm
$100–200

27
JOHN KENDRICK BLOGG (1851-1936)
'Old Cronies'
panel carved in high relief
with gum nuts and gum leaves inscribed 'Old Cronies' upper right signed John K. Blogg and dated 1929 lower right
56.5 x 29cm
PROVENANCE
By descent from the family of John K. Blogg
$8,000–10,000

lot 31 large carved frame with tapestry insert signed verso John K. Blogg and
dated 1905 lower right
69.5 x 58cm

×

Blogg John Kendrick 1851-1936

Reference: see Gibsons Auction, Melbourne, 16 June, 2019, lot 22:
Property from the Estate of John K. Blogg
John Kendrick Blogg (1851 – 1936) 22
Industrial chemist, wood-carver and poet, John K. Blogg was born in Toronto, Canada and migrated to Victoria in 1877, establishing the prosperous Melbourne chemical manufacturing firm J. K. Blogg and Company.
He was a fine woodcarver and furniture maker who settled and worked in Surrey Hills in the early 1900s. He is particularly well- known for his WW1 memorials and honour boards, the most significant of which is The Shrine in the Surrey Gardens. Others were made for the Surrey Hills Primary School, local churches and the Surrey Hills Bowling Club, of which Blogg was a keen member.
Blogg was also known for his poetry and wrote many poems about
roses, WW1 and Surrey Hills. His papers are held in the National $6,000–8,000

lot 23
23
An Australian cedar fall front secretaire desk and chair, circa 1880
144cm high, 91cm wide, 60cm deep
PROVENANCE
By descent from the family of John K. Blogg
NOTE
This secretaire desk and chair were used by John K Blogg throughout his life and latter years writing poetry and sketching his designs for his wood carvings
$2,000–3,000

24
JOHN KENDRICK BLOGG
(1851-1936)
Blackwood chair with carved panel the crest rail panel 41 x 10cm
PROVENANCE
By descent from the family of John K. Blogg
$6,000–8,000
25
A framed insurance document for Mr John K. Blogg from the Commercial Union Assurance Company Limited issued on the 1st September 1890
for cover of 'household furniture and effects...situate Albany Crescent, Surrey Hills in the amount of one hundred twenty five pounds sterling'
the certificate 52 x 42cm
$100–200

27
JOHN KENDRICK BLOGG (1851-1936)
'Old Cronies'
panel carved in high relief
with gum nuts and gum leaves inscribed 'Old Cronies' upper right signed John K. Blogg and dated 1929 lower right
56.5 x 29cm
PROVENANCE
By descent from the family of John K. Blogg
$8,000–10,000

lot 31 large carved frame with tapestry insert signed verso John K. Blogg and
dated 1905 lower right
69.5 x 58cm

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Gould William Buelowview full entry

Reference: see Gibsons Auction, Melbourne, 16 June, 2019 lot
151
WILLIAM BUELOW GOULD (1803-1853)
Still Life with Pheasant, circa 1846
oil on canvas 57 x 47cm
PROVENANCE
Sotheby's Melbourne, Fine Australian Books, Paintings and Drawings, 15-16th April 1985, Lot 43
LITERATURE
Darby G. William, Buelow Gould, Convict Artist of Van Diemensland, Copperfield Press, Sydney, 1980, colour plate 5, page 86
$18,000–25,000
William Buelow Gould (1801-1853), artist, was born in Liverpool, England. He is said to have been a porcelain painter at Spode's factory, a pupil of William Mulready, R.A., and to have worked for Rudolph Ackermann in the Strand. By 1826 he was married with two children, and on 7 November of that year he was charged at Northampton quarter sessions with having by 'force of arms stolen one coat' and was sentenced to 'seven years beyond the seas'. He had a previous conviction for stealing 'colours'.
He arrived at Hobart Town in the Asia in December 1827 and was sent to work at the brickfields. His record in Van Diemen's Land was never good, frequent offences being stealing and drunkenness. In June 1829 he was sentenced to three years at Macquarie Harbour for passing a forged Derwent Bank note. He was sent in the brig Cyprus. While weather-bound in Recherche Bay half the convicts mutinied and took the brig. The other convicts, including Gould, were marooned with
the officers. Gould was one of a party which went overland to obtain help. Lieutenant-Governor (Sir) George Arthur ameliorated the sentences of the obedient convicts, and Gould was assigned to Dr James Scott, colonial surgeon. While with Scott he painted botanical specimens which are perfect in technical detail. In 1832, after more offences, Gould was again sentenced to Macquarie Harbour where he
150
AILEEN DENT (1890-1979)
Untitled (Still Life with Petunias)
oil on canvas
signed upper right: Aileen Dent 77 x 63.5cm
$600–800
151
WILLIAM BUELOW GOULD (1803-1853)
Still Life with Pheasant, circa 1846
oil on canvas 57 x 47cm
PROVENANCE
Sotheby's Melbourne, Fine Australian Books, Paintings and Drawings, 15-16th April 1985, Lot 43
LITERATURE
Darby G. William, Buelow Gould, Convict Artist of Van Diemensland, Copperfield Press, Sydney, 1980, colour plate 5, page 86
$18,000–25,000
painted many more exquisite water-colours of flowers, birds and fishes. His sketches of Macquarie Harbour itself provide a unique topographical record of the settlement. When the Macquarie Harbour penal settlement was abandoned Gould was sent to Port Arthur, where he received his certificate of freedom on 25 June 1835.
After working briefly for Henry Palmer, coachbuilder, of Launceston, he returned to Hobart, where in December 1836 he married Ann Reynolds. In the next years he painted many game, fish and flower studies in oils, some good, some indifferent. He became a confirmed drunkard and, between sentences, lived with his wife and family in abject poverty. He died on 11 December 1853 from natural causes at his home in Macquarie Street.
A self-portrait hangs in the Tasmanian Museum. Examples of his work are held by the Entally National House, Franklin House, the National Trust Home, the Narryna Folk Museum, the National Gallery of Victoria, the Queen Victoria Museum and Art Gallery of Launceston, the Tasmanian Museum and Art Gallery, and private owners.
Gould's Sketchbook of Fishes was inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011.
– Australian Dictionary of Biography Online

×

Gould William Buelow

Reference: see Gibsons Auction, Melbourne, 16 June, 2019 lot
151
WILLIAM BUELOW GOULD (1803-1853)
Still Life with Pheasant, circa 1846
oil on canvas 57 x 47cm
PROVENANCE
Sotheby's Melbourne, Fine Australian Books, Paintings and Drawings, 15-16th April 1985, Lot 43
LITERATURE
Darby G. William, Buelow Gould, Convict Artist of Van Diemensland, Copperfield Press, Sydney, 1980, colour plate 5, page 86
$18,000–25,000
William Buelow Gould (1801-1853), artist, was born in Liverpool, England. He is said to have been a porcelain painter at Spode's factory, a pupil of William Mulready, R.A., and to have worked for Rudolph Ackermann in the Strand. By 1826 he was married with two children, and on 7 November of that year he was charged at Northampton quarter sessions with having by 'force of arms stolen one coat' and was sentenced to 'seven years beyond the seas'. He had a previous conviction for stealing 'colours'.
He arrived at Hobart Town in the Asia in December 1827 and was sent to work at the brickfields. His record in Van Diemen's Land was never good, frequent offences being stealing and drunkenness. In June 1829 he was sentenced to three years at Macquarie Harbour for passing a forged Derwent Bank note. He was sent in the brig Cyprus. While weather-bound in Recherche Bay half the convicts mutinied and took the brig. The other convicts, including Gould, were marooned with
the officers. Gould was one of a party which went overland to obtain help. Lieutenant-Governor (Sir) George Arthur ameliorated the sentences of the obedient convicts, and Gould was assigned to Dr James Scott, colonial surgeon. While with Scott he painted botanical specimens which are perfect in technical detail. In 1832, after more offences, Gould was again sentenced to Macquarie Harbour where he
150
AILEEN DENT (1890-1979)
Untitled (Still Life with Petunias)
oil on canvas
signed upper right: Aileen Dent 77 x 63.5cm
$600–800
151
WILLIAM BUELOW GOULD (1803-1853)
Still Life with Pheasant, circa 1846
oil on canvas 57 x 47cm
PROVENANCE
Sotheby's Melbourne, Fine Australian Books, Paintings and Drawings, 15-16th April 1985, Lot 43
LITERATURE
Darby G. William, Buelow Gould, Convict Artist of Van Diemensland, Copperfield Press, Sydney, 1980, colour plate 5, page 86
$18,000–25,000
painted many more exquisite water-colours of flowers, birds and fishes. His sketches of Macquarie Harbour itself provide a unique topographical record of the settlement. When the Macquarie Harbour penal settlement was abandoned Gould was sent to Port Arthur, where he received his certificate of freedom on 25 June 1835.
After working briefly for Henry Palmer, coachbuilder, of Launceston, he returned to Hobart, where in December 1836 he married Ann Reynolds. In the next years he painted many game, fish and flower studies in oils, some good, some indifferent. He became a confirmed drunkard and, between sentences, lived with his wife and family in abject poverty. He died on 11 December 1853 from natural causes at his home in Macquarie Street.
A self-portrait hangs in the Tasmanian Museum. Examples of his work are held by the Entally National House, Franklin House, the National Trust Home, the Narryna Folk Museum, the National Gallery of Victoria, the Queen Victoria Museum and Art Gallery of Launceston, the Tasmanian Museum and Art Gallery, and private owners.
Gould's Sketchbook of Fishes was inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011.
– Australian Dictionary of Biography Online

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Lowe Georginaview full entry

Reference: see Gibsons Auction, Melbourne, 16 June, 2019 lot
153
GEORGIANA LOWE (CIRCA 1813-1884)
View from the Parsonage,
Port Macquarie, Looking
up the 'Lagune'
watercolour, sepia and pencil on paper inscribed lower centre: View from the Parsonage, Port Macquarie, Looking up the 'Lagune'
25.5 x 17cm
PROVENANCE
Private Collection, Melbourne
By descent Sandra MacArthur-Onslow Family, Canberra
$3,000–5,000

×

Lowe Georgina

Reference: see Gibsons Auction, Melbourne, 16 June, 2019 lot
153
GEORGIANA LOWE (CIRCA 1813-1884)
View from the Parsonage,
Port Macquarie, Looking
up the 'Lagune'
watercolour, sepia and pencil on paper inscribed lower centre: View from the Parsonage, Port Macquarie, Looking up the 'Lagune'
25.5 x 17cm
PROVENANCE
Private Collection, Melbourne
By descent Sandra MacArthur-Onslow Family, Canberra
$3,000–5,000

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Perry Samuel Augustusview full entry

Reference: see Gibsons Auction, Melbourne, 16 June, 2019 lot

164
SAMUEL AUGUSTUS PERRY (1791-1854)
View of the Valley of Roseau,
Dominica
watercolour
signed and inscribed verso: S A Perry
/ View of the Valley of Rousseau or Queen's River in the Island of Dominica with the cascade and mountain
called Morne Verte. / The columns of smoke near the right are Souffrieres.
/ Sketched one morning before breakfast.
10.5 x 15cm
PROVENANCE
Sotheby's, Fine Australian Paintings, Melbourne, April 19 1993, Lot 138 Sandra McArthur Onslow, Canberra
REFERENCE
Jillian Oppenheimer, Perry Soldier and Surveyor, Samuel Augustus Perry, 1791-1854 Deputy Surveyor General, New South Wales, Deputy Surveyor General, New South Wales, printed
by Ligare Pty., Ltd., 2009, page 145, Illustrated colour pl.9
NOTE
Samuel Augustus Perry was a watercolourist, surveyor and soldier. Appointed deputy Surveyor-General of New South Wales, he arrived in Australia in 1829. Perry, with Captain William Dumaresq, was responsible for returning to Venice the four bronze horses of St Mark's which Napoleon had removed to Paris.
$1,500–2,500

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Perry Samuel Augustus

Reference: see Gibsons Auction, Melbourne, 16 June, 2019 lot

164
SAMUEL AUGUSTUS PERRY (1791-1854)
View of the Valley of Roseau,
Dominica
watercolour
signed and inscribed verso: S A Perry
/ View of the Valley of Rousseau or Queen's River in the Island of Dominica with the cascade and mountain
called Morne Verte. / The columns of smoke near the right are Souffrieres.
/ Sketched one morning before breakfast.
10.5 x 15cm
PROVENANCE
Sotheby's, Fine Australian Paintings, Melbourne, April 19 1993, Lot 138 Sandra McArthur Onslow, Canberra
REFERENCE
Jillian Oppenheimer, Perry Soldier and Surveyor, Samuel Augustus Perry, 1791-1854 Deputy Surveyor General, New South Wales, Deputy Surveyor General, New South Wales, printed
by Ligare Pty., Ltd., 2009, page 145, Illustrated colour pl.9
NOTE
Samuel Augustus Perry was a watercolourist, surveyor and soldier. Appointed deputy Surveyor-General of New South Wales, he arrived in Australia in 1829. Perry, with Captain William Dumaresq, was responsible for returning to Venice the four bronze horses of St Mark's which Napoleon had removed to Paris.
$1,500–2,500

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Bush Charlesview full entry

Reference: see Gibsons Auction, Melbourne, 16 June, 2019 lot
169
CHARLES BUSH (1919–1989)
Ruins of Market Building,
Bacau, Port Timor circa 1945
oil on cardboard
signed (sgraffitoed) lower right:
Bush and sign titled and signed verso: RUINS OF MARKET BUILDING BAUCAU - PORT TIMOR / Charles Bush
24 x 20cm
NOTE
Charles Bush was a war artist in WWII, painting in Papua New Guinea and Timor (after the liberation from the Japanese) Bacau is on the the coast
in what is now Timor ""Este. It seems this market building, with Portuguese architectural influence, is still to be seen in Bacau.
PROVENANCE
inscribed verso:
Given by Charles Bush to
William Pettigrew (army friend)
to Ian Hough (m. to Lucy H.) bequest to Bruce Wilson; bequest to Robert/Jean/Alison Wilson
further inscribed in note:
This painting was given by the artist Charles Bush to his army friend William Pettigrew, who gave it to my friend Ian Hough. On Ian's death his widow, Lucy gave it to me Bruce Wilson
$1,000–1,500

×

Bush Charles

Reference: see Gibsons Auction, Melbourne, 16 June, 2019 lot
169
CHARLES BUSH (1919–1989)
Ruins of Market Building,
Bacau, Port Timor circa 1945
oil on cardboard
signed (sgraffitoed) lower right:
Bush and sign titled and signed verso: RUINS OF MARKET BUILDING BAUCAU - PORT TIMOR / Charles Bush
24 x 20cm
NOTE
Charles Bush was a war artist in WWII, painting in Papua New Guinea and Timor (after the liberation from the Japanese) Bacau is on the the coast
in what is now Timor ""Este. It seems this market building, with Portuguese architectural influence, is still to be seen in Bacau.
PROVENANCE
inscribed verso:
Given by Charles Bush to
William Pettigrew (army friend)
to Ian Hough (m. to Lucy H.) bequest to Bruce Wilson; bequest to Robert/Jean/Alison Wilson
further inscribed in note:
This painting was given by the artist Charles Bush to his army friend William Pettigrew, who gave it to my friend Ian Hough. On Ian's death his widow, Lucy gave it to me Bruce Wilson
$1,000–1,500

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Corbet Edith (1850-1920)view full entry

Reference: see DREWEATTS UK auction, 31 July, 2019, lot 150: Edith Corbet (British 1850-1920) The late Mrs. Charles Stuart-Wortley Oil on paper laid down to canvas 40.5 x 33.5cm (15¾ x 13 in.) Painted in 1879. Provenance: Gifted by the artist to Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley after Beatrice Stuart-Worsley's (née Trollope) death in 1881 Thence by descent to Hon. Beatrice Susan Theodosia Gascoyne-Cecil (née Stuart-Wortley) Thence by descent to Robert Arthur Gascoyne-Cecil, Assistant to the Director of the Wallace Collection in 1946 Alice, daughter of Susan Charlotte Buchan, Baroness Tweedsmuir (née Grosvenor; 20 April 1882 - 21 March 1977) Thence by descent to the present owner Exhibited: London, Grosvenor Gallery, 1 May - 31 July 1883, no. 167 This work, depicting the late Mrs. Charles Stuart-Wortley, was hung in the East Gallery at the Grosvenor Gallery alongside an additional portrait by Mrs. Arthur Murch, Portrait of Lady Paget. These portraits were in good company alongside works by artists including Stanhope Forbes, Charles Napier Hemy and Heywood Hardy. Altogether Mrs Arthur Murch exhibited five works of art in the Grosvenor Gallery in the May exhibition of 1883. Edith Corbet (née Edenborough) formerly Edith Murch. Edith was born in Goulburn, New South Wales, Australia the second daughter and fifth child of Henry Edenborough and Margaret Stedman. The family originally from Leicestershire relocated to London and became successful silk merchants. Edith married Victorian painter and illustrator Arthur Murch with whom she moved to Rome and began painting with Giovanni Costa, leader of the Macchiaioli group. She frequently exhibited from 1880 to 1890 at the Grosvenor Gallery and the New Gallery. In 1891, after the death of her first husband, she married Matthew Ridley Corbet, one of the Macchiaioli group's leading members, after which she exhibited mainly at the Royal Academy, visiting Italy and living in London for the remainder of her life. Beatrice Stuart-Worsley (née Trollope) was the daughter of Thomas Adolphus Trollope and Theodosia Garrow. In 1880 she married Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley (1851-1926), son of Rt. Hon. James Archibald Stuart-Wortley and Hon. Jane Lawley. Together they had one daughter Hon. Beatrice Susan Theodosia Stuart-Wortley (1881-1973). Beatrice Stuart-Worsley died on 26th July 1881. To be sold together with letters from (Mary) Rosalie Glynn Grylls (13 April 1905 - 2 November 1988), later Lady Mander to Robert Cecil and from Susan Charlotte Buchan, Baroness Tweedsmuir (née Grosvenor; 20 April 1882 - 21 March 1977) to Robert Cecil. Finally from, Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley to his sister Mary Caroline Stuart-Wortley regarding an exhibition.

×

Corbet Edith (1850-1920)

Reference: see DREWEATTS UK auction, 31 July, 2019, lot 150: Edith Corbet (British 1850-1920) The late Mrs. Charles Stuart-Wortley Oil on paper laid down to canvas 40.5 x 33.5cm (15¾ x 13 in.) Painted in 1879. Provenance: Gifted by the artist to Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley after Beatrice Stuart-Worsley's (née Trollope) death in 1881 Thence by descent to Hon. Beatrice Susan Theodosia Gascoyne-Cecil (née Stuart-Wortley) Thence by descent to Robert Arthur Gascoyne-Cecil, Assistant to the Director of the Wallace Collection in 1946 Alice, daughter of Susan Charlotte Buchan, Baroness Tweedsmuir (née Grosvenor; 20 April 1882 - 21 March 1977) Thence by descent to the present owner Exhibited: London, Grosvenor Gallery, 1 May - 31 July 1883, no. 167 This work, depicting the late Mrs. Charles Stuart-Wortley, was hung in the East Gallery at the Grosvenor Gallery alongside an additional portrait by Mrs. Arthur Murch, Portrait of Lady Paget. These portraits were in good company alongside works by artists including Stanhope Forbes, Charles Napier Hemy and Heywood Hardy. Altogether Mrs Arthur Murch exhibited five works of art in the Grosvenor Gallery in the May exhibition of 1883. Edith Corbet (née Edenborough) formerly Edith Murch. Edith was born in Goulburn, New South Wales, Australia the second daughter and fifth child of Henry Edenborough and Margaret Stedman. The family originally from Leicestershire relocated to London and became successful silk merchants. Edith married Victorian painter and illustrator Arthur Murch with whom she moved to Rome and began painting with Giovanni Costa, leader of the Macchiaioli group. She frequently exhibited from 1880 to 1890 at the Grosvenor Gallery and the New Gallery. In 1891, after the death of her first husband, she married Matthew Ridley Corbet, one of the Macchiaioli group's leading members, after which she exhibited mainly at the Royal Academy, visiting Italy and living in London for the remainder of her life. Beatrice Stuart-Worsley (née Trollope) was the daughter of Thomas Adolphus Trollope and Theodosia Garrow. In 1880 she married Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley (1851-1926), son of Rt. Hon. James Archibald Stuart-Wortley and Hon. Jane Lawley. Together they had one daughter Hon. Beatrice Susan Theodosia Stuart-Wortley (1881-1973). Beatrice Stuart-Worsley died on 26th July 1881. To be sold together with letters from (Mary) Rosalie Glynn Grylls (13 April 1905 - 2 November 1988), later Lady Mander to Robert Cecil and from Susan Charlotte Buchan, Baroness Tweedsmuir (née Grosvenor; 20 April 1882 - 21 March 1977) to Robert Cecil. Finally from, Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley to his sister Mary Caroline Stuart-Wortley regarding an exhibition.

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Murch Mrs Arthur - Edith Corbet (1850-1920)view full entry

Reference: see DREWEATTS UK auction, 31 July, 2019, lot 150: Edith Corbet (British 1850-1920) The late Mrs. Charles Stuart-Wortley Oil on paper laid down to canvas 40.5 x 33.5cm (15¾ x 13 in.) Painted in 1879. Provenance: Gifted by the artist to Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley after Beatrice Stuart-Worsley's (née Trollope) death in 1881 Thence by descent to Hon. Beatrice Susan Theodosia Gascoyne-Cecil (née Stuart-Wortley) Thence by descent to Robert Arthur Gascoyne-Cecil, Assistant to the Director of the Wallace Collection in 1946 Alice, daughter of Susan Charlotte Buchan, Baroness Tweedsmuir (née Grosvenor; 20 April 1882 - 21 March 1977) Thence by descent to the present owner Exhibited: London, Grosvenor Gallery, 1 May - 31 July 1883, no. 167 This work, depicting the late Mrs. Charles Stuart-Wortley, was hung in the East Gallery at the Grosvenor Gallery alongside an additional portrait by Mrs. Arthur Murch, Portrait of Lady Paget. These portraits were in good company alongside works by artists including Stanhope Forbes, Charles Napier Hemy and Heywood Hardy. Altogether Mrs Arthur Murch exhibited five works of art in the Grosvenor Gallery in the May exhibition of 1883. Edith Corbet (née Edenborough) formerly Edith Murch. Edith was born in Goulburn, New South Wales, Australia the second daughter and fifth child of Henry Edenborough and Margaret Stedman. The family originally from Leicestershire relocated to London and became successful silk merchants. Edith married Victorian painter and illustrator Arthur Murch with whom she moved to Rome and began painting with Giovanni Costa, leader of the Macchiaioli group. She frequently exhibited from 1880 to 1890 at the Grosvenor Gallery and the New Gallery. In 1891, after the death of her first husband, she married Matthew Ridley Corbet, one of the Macchiaioli group's leading members, after which she exhibited mainly at the Royal Academy, visiting Italy and living in London for the remainder of her life. Beatrice Stuart-Worsley (née Trollope) was the daughter of Thomas Adolphus Trollope and Theodosia Garrow. In 1880 she married Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley (1851-1926), son of Rt. Hon. James Archibald Stuart-Wortley and Hon. Jane Lawley. Together they had one daughter Hon. Beatrice Susan Theodosia Stuart-Wortley (1881-1973). Beatrice Stuart-Worsley died on 26th July 1881. To be sold together with letters from (Mary) Rosalie Glynn Grylls (13 April 1905 - 2 November 1988), later Lady Mander to Robert Cecil and from Susan Charlotte Buchan, Baroness Tweedsmuir (née Grosvenor; 20 April 1882 - 21 March 1977) to Robert Cecil. Finally from, Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley to his sister Mary Caroline Stuart-Wortley regarding an exhibition.

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Murch Mrs Arthur - Edith Corbet (1850-1920)

Reference: see DREWEATTS UK auction, 31 July, 2019, lot 150: Edith Corbet (British 1850-1920) The late Mrs. Charles Stuart-Wortley Oil on paper laid down to canvas 40.5 x 33.5cm (15¾ x 13 in.) Painted in 1879. Provenance: Gifted by the artist to Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley after Beatrice Stuart-Worsley's (née Trollope) death in 1881 Thence by descent to Hon. Beatrice Susan Theodosia Gascoyne-Cecil (née Stuart-Wortley) Thence by descent to Robert Arthur Gascoyne-Cecil, Assistant to the Director of the Wallace Collection in 1946 Alice, daughter of Susan Charlotte Buchan, Baroness Tweedsmuir (née Grosvenor; 20 April 1882 - 21 March 1977) Thence by descent to the present owner Exhibited: London, Grosvenor Gallery, 1 May - 31 July 1883, no. 167 This work, depicting the late Mrs. Charles Stuart-Wortley, was hung in the East Gallery at the Grosvenor Gallery alongside an additional portrait by Mrs. Arthur Murch, Portrait of Lady Paget. These portraits were in good company alongside works by artists including Stanhope Forbes, Charles Napier Hemy and Heywood Hardy. Altogether Mrs Arthur Murch exhibited five works of art in the Grosvenor Gallery in the May exhibition of 1883. Edith Corbet (née Edenborough) formerly Edith Murch. Edith was born in Goulburn, New South Wales, Australia the second daughter and fifth child of Henry Edenborough and Margaret Stedman. The family originally from Leicestershire relocated to London and became successful silk merchants. Edith married Victorian painter and illustrator Arthur Murch with whom she moved to Rome and began painting with Giovanni Costa, leader of the Macchiaioli group. She frequently exhibited from 1880 to 1890 at the Grosvenor Gallery and the New Gallery. In 1891, after the death of her first husband, she married Matthew Ridley Corbet, one of the Macchiaioli group's leading members, after which she exhibited mainly at the Royal Academy, visiting Italy and living in London for the remainder of her life. Beatrice Stuart-Worsley (née Trollope) was the daughter of Thomas Adolphus Trollope and Theodosia Garrow. In 1880 she married Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley (1851-1926), son of Rt. Hon. James Archibald Stuart-Wortley and Hon. Jane Lawley. Together they had one daughter Hon. Beatrice Susan Theodosia Stuart-Wortley (1881-1973). Beatrice Stuart-Worsley died on 26th July 1881. To be sold together with letters from (Mary) Rosalie Glynn Grylls (13 April 1905 - 2 November 1988), later Lady Mander to Robert Cecil and from Susan Charlotte Buchan, Baroness Tweedsmuir (née Grosvenor; 20 April 1882 - 21 March 1977) to Robert Cecil. Finally from, Charles Beilby Stuart-Wortley, 1st and last Baron Stuart of Wortley to his sister Mary Caroline Stuart-Wortley regarding an exhibition.

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Doyly-John Charles Robert (Australia 1906 - 1993)view full entry

Reference: see SAARBRÜCKER KUNST- UND auction, lot 980120, 27 July, 2019:
Doyly-John, Charles Robert (Australia 1906 - 1993), Old archway, probably St. Tropez, oil on board, on hardboard doubled, framed under glass, frame partially bumped, on the back with exhibition label, labeled John Doyly, Ch. Robert, Old archway, picture size 44 x 63 cm, frame size 51 x 70 cm. 1595-023

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Doyly-John Charles Robert (Australia 1906 - 1993)

Reference: see SAARBRÜCKER KUNST- UND auction, lot 980120, 27 July, 2019:
Doyly-John, Charles Robert (Australia 1906 - 1993), Old archway, probably St. Tropez, oil on board, on hardboard doubled, framed under glass, frame partially bumped, on the back with exhibition label, labeled John Doyly, Ch. Robert, Old archway, picture size 44 x 63 cm, frame size 51 x 70 cm. 1595-023

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Whittaker Tview full entry

Reference: see Bourgeault-Horan Antiquarians
August 18, 2019, 12:00 PM EST
Portsmouth, NH, US lot 107: Lot 107: T. WHITTAKER (AUSTRALIAN, ACT. MID-NINETEENTH CENTURY). LETTER FROM HOME. Description: Oil on canvas, 24 1/4 x 20 1/4 inches. Signed "T. Whittaker" and dated 1865, l.l. The title inscribed in pencil on the stretcher and on the reverse of the canvas, "T. Whittaker/ Wilson Place/ Port Broughton." Provenance: Collection of J. Welles Henderson, Philadelphia. Literature: Discussed and illustrated in J. Welles Henderson and Rodney P. Carlisle, "Jack Tar: A Sailor's Life 1750-1910," pp. 70-71. However, no biographical information on the artist is provided in this book.

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Whittaker T

Reference: see Bourgeault-Horan Antiquarians
August 18, 2019, 12:00 PM EST
Portsmouth, NH, US lot 107: Lot 107: T. WHITTAKER (AUSTRALIAN, ACT. MID-NINETEENTH CENTURY). LETTER FROM HOME. Description: Oil on canvas, 24 1/4 x 20 1/4 inches. Signed "T. Whittaker" and dated 1865, l.l. The title inscribed in pencil on the stretcher and on the reverse of the canvas, "T. Whittaker/ Wilson Place/ Port Broughton." Provenance: Collection of J. Welles Henderson, Philadelphia. Literature: Discussed and illustrated in J. Welles Henderson and Rodney P. Carlisle, "Jack Tar: A Sailor's Life 1750-1910," pp. 70-71. However, no biographical information on the artist is provided in this book.

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Whittaker Tview full entry

Reference: see Small & Whitfield auction, Adelaide, 12.10.2009, Children Gathering Hay, 33 x 28 cm, 1865.

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Whittaker T

Reference: see Small & Whitfield auction, Adelaide, 12.10.2009, Children Gathering Hay, 33 x 28 cm, 1865.

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Colahan Colinview full entry

Reference: see McTears auction UK, 28 August, 2019, lot 409: COLIN COLAHAN (AUSTRALIAN 1897 - 1987) THE EMERALD NECKLACE oil on canvas, signed 76cm x 63cm Framed. Label verso: E-Stacy Marks Ltd, 120-122 Terminus Road, Eastbourne, Sussex. Note: Colin Cuthbert Orr Colahan was an Australian painter and sculptor of Irish descent. Between 1921-27 he lived and traveled in England, France and Spain , studied the classical masters and developed his technique, showing his work in London and Paris. He returned to Melbourne, where his reputation grew and his work matured. His subjects included landscapes, streetscapes, portraits and nude studies. In 1935 Colahan suddenly departed again for England, where he built a reputation as a portrait painter. His more notable subjects included George Bernard Shaw. Colahan was appointed an Australian official war artist in 1942 and became the first president of the Australian Artists’ Association, London, in 1952. Moving to Italy in 1958, Colahan continued to paint portraits and landscapes, and in the late 1960s he turned to sculpture, producing over thirty works, including the `Sirena’ fountain for the Italian town of Bordighera, and a head of Victor Smorgon, bought by the National Gallery of Victoria. A portrait in oil of F. Matthias Alexander (of “Alexander technique” fame), painted by Colahan to commemorate the subject’s 80th birthday, was shown on the BBC’s Antiques Roadshow program in May 2013. His work can be found in the collections of the State galleries of Melbourne, Adelaide and Brisbane.

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Colahan Colin

Reference: see McTears auction UK, 28 August, 2019, lot 409: COLIN COLAHAN (AUSTRALIAN 1897 - 1987) THE EMERALD NECKLACE oil on canvas, signed 76cm x 63cm Framed. Label verso: E-Stacy Marks Ltd, 120-122 Terminus Road, Eastbourne, Sussex. Note: Colin Cuthbert Orr Colahan was an Australian painter and sculptor of Irish descent. Between 1921-27 he lived and traveled in England, France and Spain , studied the classical masters and developed his technique, showing his work in London and Paris. He returned to Melbourne, where his reputation grew and his work matured. His subjects included landscapes, streetscapes, portraits and nude studies. In 1935 Colahan suddenly departed again for England, where he built a reputation as a portrait painter. His more notable subjects included George Bernard Shaw. Colahan was appointed an Australian official war artist in 1942 and became the first president of the Australian Artists’ Association, London, in 1952. Moving to Italy in 1958, Colahan continued to paint portraits and landscapes, and in the late 1960s he turned to sculpture, producing over thirty works, including the `Sirena’ fountain for the Italian town of Bordighera, and a head of Victor Smorgon, bought by the National Gallery of Victoria. A portrait in oil of F. Matthias Alexander (of “Alexander technique” fame), painted by Colahan to commemorate the subject’s 80th birthday, was shown on the BBC’s Antiques Roadshow program in May 2013. His work can be found in the collections of the State galleries of Melbourne, Adelaide and Brisbane.

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Lawler Adrianview full entry

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
LOT 221
Adrian Lawlor
(1890-1969)
Nude in Archway (Banner of Blood), c.1940

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Adrian Lawlor (1890-1969)
Nude in Archway (Banner of Blood), c.1940
signed lower right: ADRIAN / LAWLOR'
titled verso: 'NUDE IN ARCHWAY'
oil on composition board
55.0 x 44.0cm (21 5/8 x 17 5/16in).
Footnotes
PROVENANCE
Athenaeum Gallery, Melbourne
Collection of the late Sir Warwick and Lady Fairfax, Sydney

EXHIBITED
Athenaeum Gallery, Melbourne, May 1940

LITERATURE
'The Art of Adrian Lawlor' in Art in Australia, series 3, no. 80, August 1940, pp. 18, 19 (illus.) as Banner of Blood, Painted on receiving a Poem from Alister Kershaw as now in the possession of Warwick Fairfax, Esq

In the mid 1930s, John Fairfax & Sons Ltd acquired both The Home magazine and Art in Australia, which had established itself as the leading publication for modern and Australian art. The following is an excerpt from a review published anonymously in the August 1940 edition.

'Although he held his first one-man show little more than ten years ago, Adrian Lawlor has a rightful place amongst the pioneers of the modern movement in Australia.

In those days, he was far from unknown as a writer with a vital and highly personal style, who had contributed to leading Australian journals. His exhibition of paintings early in 1930 marked him as an artist who had something to say, and who was determined to say it in his own way.

The exhibition burst like a high explosive shell in the midst of Melbourne's slumbering art world. Here was an artist who believed that a painting, in order to be a work of art, must be something more than a coloured photograph, a sentimental likeness of a suburban street, or "Portrait of Alderman So-and-so in robes of office." Lawlor dared to place himself on the platform with European artists and critics, who considered that the post-impressionists and the men of his own day - Picasso, Braque, Matisse - produced art, while the painters of Highland cattle and "The Deathbed" did not.

He was attacked from all sides by painters and members of the general public, who rushed into print through the daily press with long and wordy letters. Lawlor countered each onslaught, defending his own work and championing the cause of the contemporary movement.

Since then he has been to the forefront in all those "anti-modern versus modern" controversies which seem to occur and reoccur with clock-like precision in Melbourne.

His annual one-man shows have continued to disturb Melbourne's leaders of academic thought, and his exhibitions are eagerly awaited by those who expect an artist to be creative and stimulating with his brushes...

Passing from these formal paintings, we can select another group of related works which is probably of more intrinsic worth than all of the others, in that it exemplifies more particularly and more deeply the personal vision of the artist. These pictures are "Banner of Blood", "Symphonic Poem" (No 21), "A Melodrama" and "Theatre" (No 62). Though uneven in execution, and in the extent to which they carry this special inspiration, each of these paintings can be related through the air of haunting unreality and mystery which pervades them. The blood-like paint used (except in "Theatre") is possibly responsible for a certain feeling of uneasiness which they evoke, but their emotional appeal in undoubted, even though their aesthetic analysis may be involved. This does not negate the value of the paintings, but rather assures us once more that the artist has something welling up in him which cannot fail to be a valuable contribution to Australian art.'

×

Lawler Adrian

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
LOT 221
Adrian Lawlor
(1890-1969)
Nude in Archway (Banner of Blood), c.1940

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Adrian Lawlor (1890-1969)
Nude in Archway (Banner of Blood), c.1940
signed lower right: ADRIAN / LAWLOR'
titled verso: 'NUDE IN ARCHWAY'
oil on composition board
55.0 x 44.0cm (21 5/8 x 17 5/16in).
Footnotes
PROVENANCE
Athenaeum Gallery, Melbourne
Collection of the late Sir Warwick and Lady Fairfax, Sydney

EXHIBITED
Athenaeum Gallery, Melbourne, May 1940

LITERATURE
'The Art of Adrian Lawlor' in Art in Australia, series 3, no. 80, August 1940, pp. 18, 19 (illus.) as Banner of Blood, Painted on receiving a Poem from Alister Kershaw as now in the possession of Warwick Fairfax, Esq

In the mid 1930s, John Fairfax & Sons Ltd acquired both The Home magazine and Art in Australia, which had established itself as the leading publication for modern and Australian art. The following is an excerpt from a review published anonymously in the August 1940 edition.

'Although he held his first one-man show little more than ten years ago, Adrian Lawlor has a rightful place amongst the pioneers of the modern movement in Australia.

In those days, he was far from unknown as a writer with a vital and highly personal style, who had contributed to leading Australian journals. His exhibition of paintings early in 1930 marked him as an artist who had something to say, and who was determined to say it in his own way.

The exhibition burst like a high explosive shell in the midst of Melbourne's slumbering art world. Here was an artist who believed that a painting, in order to be a work of art, must be something more than a coloured photograph, a sentimental likeness of a suburban street, or "Portrait of Alderman So-and-so in robes of office." Lawlor dared to place himself on the platform with European artists and critics, who considered that the post-impressionists and the men of his own day - Picasso, Braque, Matisse - produced art, while the painters of Highland cattle and "The Deathbed" did not.

He was attacked from all sides by painters and members of the general public, who rushed into print through the daily press with long and wordy letters. Lawlor countered each onslaught, defending his own work and championing the cause of the contemporary movement.

Since then he has been to the forefront in all those "anti-modern versus modern" controversies which seem to occur and reoccur with clock-like precision in Melbourne.

His annual one-man shows have continued to disturb Melbourne's leaders of academic thought, and his exhibitions are eagerly awaited by those who expect an artist to be creative and stimulating with his brushes...

Passing from these formal paintings, we can select another group of related works which is probably of more intrinsic worth than all of the others, in that it exemplifies more particularly and more deeply the personal vision of the artist. These pictures are "Banner of Blood", "Symphonic Poem" (No 21), "A Melodrama" and "Theatre" (No 62). Though uneven in execution, and in the extent to which they carry this special inspiration, each of these paintings can be related through the air of haunting unreality and mystery which pervades them. The blood-like paint used (except in "Theatre") is possibly responsible for a certain feeling of uneasiness which they evoke, but their emotional appeal in undoubted, even though their aesthetic analysis may be involved. This does not negate the value of the paintings, but rather assures us once more that the artist has something welling up in him which cannot fail to be a valuable contribution to Australian art.'

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O’Connor Vicview full entry

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
LOT 220
Victor George
(Vic) O'Connor (1918-2010)
The Acrobats, 1941

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Victor George (Vic) O'Connor (1918-2010)
The Acrobats, 1941
signed and dated lower right: 'VG O'Connor 41'
oil on canvas on composition board
60.0 x 75.0cm (23 5/8 x 29 1/2in).
Footnotes
PROVENANCE
David Jones Gallery, Sydney
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired from the above in 1941

EXHIBITED
Contemporary Art Society, Third Annual Exhibition, David Jones Gallery, Sydney, 9 September - 4 October 1941; then Hotel Australia, Melbourne, 14 - 31 October 1941, cat. 168

LITERATURE
'Contemporary Art: Vital Works at Annual Show', The Sydney Morning Herald, Sydney, 9 September 1941, p. 7
Richard Haese, Rebels and Precursors, The Revolutionary Years of Australian Art, Penguin Books, Melbourne, 1981, p. 87
Richard Haese, Modern Australian Art, Alpine Fine Arts Collection, 1982, p. 87
Bernard Smith, Noel Counihan: Artist and Revolutionary, Oxford University Press, Melbourne, 1993, p. 170
Keith Richmond, 'A Painter of Ordinary Life', Oz Arts, issue nine, 1994, p. 59 (illus.)
Janine Burke, Australian Gothic: A Life of Albert Tucker, Random House, Sydney, 2002, p. 170

Formed in 1938, the Contemporary Art Society held its first exhibition in 1939. Exhibiting artists included Noel Counihan, Russell Drysdale, Sidney Nolan and Albert Tucker. Through the encouragement of friend David Strachan, Vic O'Connor joined the Society and entered a landscape into the 1939 exhibition. It was to be a turning point for O'Connor. As described by Keith Richmond in his article in OZ Arts magazine, 'The C.A.S. comprised most of the younger artists of the period - figures like Bell, Arnold Shaw, Frater, Drysdale, Dobell and Gleeson, as well as traditional artists. The C.A.S. was founded in July 1938 to 'unite all artists and laymen who are in favour of encouraging the growth of a living art', in opposition to the then-current idea of the creation of an officially sanctioned 'self-constituted Academy'.

For a time the Society flourished, with branches in Adelaide, Melbourne and Sydney, but as the threat of an academy vanished differences arose between the various
groups who had joined the movement. The Bell group was the first to leave as they
were opposed to the part lay people played in the Society. The quarrel developed between Bell and a group around John and Sunday Reed - an avant garde circle which included Albert Tucker, Sidney Nolan, Arthur Boyd and John Perceval. The third group comprised those later termed the Social Realists: Noel Counihan, Vic O'Connor and Yosl Bergner.

It was in the early 1940s that Social Realism gained prominence in Australian art,
largely due to the Communist Party's stand against fascism and the entry into the
war in 1941 of the USSR. Many of its practitioners had bitter memories of the
Depression; they had also found entry to the art world a stony path indeed, and
were sympathetic to socialism and communism. Further, the evolution of Australian
society had shifted the main emphasis from the life and appearance of rural
Australia to the city.

While Vic says the term Social Realist was usually applied to Counihan, Bergner
and himself, to identify them as a group, 'we were, however, each quite different
from the other. Bergner's work reflected Jewish hopes and fears at that time.
Counihan had a record of achievement as a political cartoonist, and when he
began to paint, his work reflected his close association with working-class leftwing action. I was less sophisticated and had to find my way to my subjects. I was more of an instinctive painter.'

'If you look at my pictures, you'll see a lot of them have political or social connotations of some kind or other, but my approach tends to be from side on. I don't think pictures up. Images come into my mind pretty well formed with what I want to do. It's always been like that.'

Of the days in the C.A.S, O'Connor remembers that despite the differences in the
art world, there was still a lot of camaraderie between individuals. 'At one period,
there would be a Sunday afternoon get-together when we'd take along whatever
we were working on and prop the pictures against the wall, have a bit of grog
and the whole place would buzz with lively discussion.'

In 1941, Vic entered a painting, The Acrobats, in the C.A.S. exhibition and
shared a fifty pound prize with Donald Friend. In The Acrobats, he tried to convey the brooding feeling of the cityscape: 'I was in the city continually, and in the immediate pre-war era the mood in the streets was often disturbing, with an
atmosphere of violence. I used to feel there was an alienation - some degree of
alienation between people. It is reflected in drawings I did of the city at that time, and it is what I sought to express in The Acrobats - the isolation, the unsettled atmosphere and the divisions between people.'

×

O’Connor Vic

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
LOT 220
Victor George
(Vic) O'Connor (1918-2010)
The Acrobats, 1941

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Victor George (Vic) O'Connor (1918-2010)
The Acrobats, 1941
signed and dated lower right: 'VG O'Connor 41'
oil on canvas on composition board
60.0 x 75.0cm (23 5/8 x 29 1/2in).
Footnotes
PROVENANCE
David Jones Gallery, Sydney
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired from the above in 1941

EXHIBITED
Contemporary Art Society, Third Annual Exhibition, David Jones Gallery, Sydney, 9 September - 4 October 1941; then Hotel Australia, Melbourne, 14 - 31 October 1941, cat. 168

LITERATURE
'Contemporary Art: Vital Works at Annual Show', The Sydney Morning Herald, Sydney, 9 September 1941, p. 7
Richard Haese, Rebels and Precursors, The Revolutionary Years of Australian Art, Penguin Books, Melbourne, 1981, p. 87
Richard Haese, Modern Australian Art, Alpine Fine Arts Collection, 1982, p. 87
Bernard Smith, Noel Counihan: Artist and Revolutionary, Oxford University Press, Melbourne, 1993, p. 170
Keith Richmond, 'A Painter of Ordinary Life', Oz Arts, issue nine, 1994, p. 59 (illus.)
Janine Burke, Australian Gothic: A Life of Albert Tucker, Random House, Sydney, 2002, p. 170

Formed in 1938, the Contemporary Art Society held its first exhibition in 1939. Exhibiting artists included Noel Counihan, Russell Drysdale, Sidney Nolan and Albert Tucker. Through the encouragement of friend David Strachan, Vic O'Connor joined the Society and entered a landscape into the 1939 exhibition. It was to be a turning point for O'Connor. As described by Keith Richmond in his article in OZ Arts magazine, 'The C.A.S. comprised most of the younger artists of the period - figures like Bell, Arnold Shaw, Frater, Drysdale, Dobell and Gleeson, as well as traditional artists. The C.A.S. was founded in July 1938 to 'unite all artists and laymen who are in favour of encouraging the growth of a living art', in opposition to the then-current idea of the creation of an officially sanctioned 'self-constituted Academy'.

For a time the Society flourished, with branches in Adelaide, Melbourne and Sydney, but as the threat of an academy vanished differences arose between the various
groups who had joined the movement. The Bell group was the first to leave as they
were opposed to the part lay people played in the Society. The quarrel developed between Bell and a group around John and Sunday Reed - an avant garde circle which included Albert Tucker, Sidney Nolan, Arthur Boyd and John Perceval. The third group comprised those later termed the Social Realists: Noel Counihan, Vic O'Connor and Yosl Bergner.

It was in the early 1940s that Social Realism gained prominence in Australian art,
largely due to the Communist Party's stand against fascism and the entry into the
war in 1941 of the USSR. Many of its practitioners had bitter memories of the
Depression; they had also found entry to the art world a stony path indeed, and
were sympathetic to socialism and communism. Further, the evolution of Australian
society had shifted the main emphasis from the life and appearance of rural
Australia to the city.

While Vic says the term Social Realist was usually applied to Counihan, Bergner
and himself, to identify them as a group, 'we were, however, each quite different
from the other. Bergner's work reflected Jewish hopes and fears at that time.
Counihan had a record of achievement as a political cartoonist, and when he
began to paint, his work reflected his close association with working-class leftwing action. I was less sophisticated and had to find my way to my subjects. I was more of an instinctive painter.'

'If you look at my pictures, you'll see a lot of them have political or social connotations of some kind or other, but my approach tends to be from side on. I don't think pictures up. Images come into my mind pretty well formed with what I want to do. It's always been like that.'

Of the days in the C.A.S, O'Connor remembers that despite the differences in the
art world, there was still a lot of camaraderie between individuals. 'At one period,
there would be a Sunday afternoon get-together when we'd take along whatever
we were working on and prop the pictures against the wall, have a bit of grog
and the whole place would buzz with lively discussion.'

In 1941, Vic entered a painting, The Acrobats, in the C.A.S. exhibition and
shared a fifty pound prize with Donald Friend. In The Acrobats, he tried to convey the brooding feeling of the cityscape: 'I was in the city continually, and in the immediate pre-war era the mood in the streets was often disturbing, with an
atmosphere of violence. I used to feel there was an alienation - some degree of
alienation between people. It is reflected in drawings I did of the city at that time, and it is what I sought to express in The Acrobats - the isolation, the unsettled atmosphere and the divisions between people.'

Publishing details:

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Lymburner Francisview full entry

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Various works by Lymburner including:
LOT 59
Francis Lymburner
(1916-1972)
The Rehearsal Group, c.1944
Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Francis Lymburner (1916-1972)
The Rehearsal Group, c.1944
signed lower right: 'Francis Lymburner'
oil on composition board
48.0 x 57.0cm (18 7/8 x 22 7/16in).
Footnotes
PROVENANCE
Macquarie Gallery, Sydney
Collection of the late Sir Warwick and Lady Fairfax

EXHIBITED
Francis Lymburner, Macquarie Galleries, 28 June - 10 July 1944, cat. 3, as kindly lent by Warwick Fairfax, Esq.
Francis Lymburner Retrospective, touring exhibition, Art Gallery of New South Wales, Sydney, 4 April - 24 May 1992; Newcastle Art Gallery, Newcastle, 12 June – 12 July 1992; Tasmanian Museum and Art Gallery, Hobart, 28 July – 13 September 1992; Queensland Art Gallery, Brisbane, 26 September – 22 November 1992; Bathurst Regional Art Gallery, Bathurst, 4 December 1992 – 31 January 1993, cat. 5 (label attached verso)

LITERATURE
Paul Haefliger, 'Art of Francis Lymburner', The Sydney Morning Herald, Sydney, 29 June 1944
Hendrik Kolenberg and Barry Pearce, Francis Lymburner, Art Gallery of New South Wales, Sydney, 1992, cat. 5, p. 37 (illus.)

×

Lymburner Francis

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Various works by Lymburner including:
LOT 59
Francis Lymburner
(1916-1972)
The Rehearsal Group, c.1944
Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Francis Lymburner (1916-1972)
The Rehearsal Group, c.1944
signed lower right: 'Francis Lymburner'
oil on composition board
48.0 x 57.0cm (18 7/8 x 22 7/16in).
Footnotes
PROVENANCE
Macquarie Gallery, Sydney
Collection of the late Sir Warwick and Lady Fairfax

EXHIBITED
Francis Lymburner, Macquarie Galleries, 28 June - 10 July 1944, cat. 3, as kindly lent by Warwick Fairfax, Esq.
Francis Lymburner Retrospective, touring exhibition, Art Gallery of New South Wales, Sydney, 4 April - 24 May 1992; Newcastle Art Gallery, Newcastle, 12 June – 12 July 1992; Tasmanian Museum and Art Gallery, Hobart, 28 July – 13 September 1992; Queensland Art Gallery, Brisbane, 26 September – 22 November 1992; Bathurst Regional Art Gallery, Bathurst, 4 December 1992 – 31 January 1993, cat. 5 (label attached verso)

LITERATURE
Paul Haefliger, 'Art of Francis Lymburner', The Sydney Morning Herald, Sydney, 29 June 1944
Hendrik Kolenberg and Barry Pearce, Francis Lymburner, Art Gallery of New South Wales, Sydney, 1992, cat. 5, p. 37 (illus.)

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Bunny Rupertview full entry

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Various works by Rupert Bunny including
LOT 78
Rupert Bunny
(1864-1947)
The Wrath of Apollo, c.1918

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Rupert Bunny (1864-1947)
The Wrath of Apollo, c.1918
oil on linen
51.0 x 73.0cm (20 1/16 x 28 3/4in).
linen stamped verso with artist supplier Lucien Lefebvre-Foinet, Paris
Footnotes
PROVENANCE
Mrs Montague Grover, Melbourne
K. Grover Esq., Melbourne
Collection of the late Sir Warwick and Lady Fairfax, Sydney

EXHIBITED
Exhibition of Paintings by Rupert Bunny, Georges Gallery, Melbourne, 9 - 19 September 1947, cat. 26 (label attached verso)

LITERATURE
Clive Turnbull and Tristan Buesst, The Art of Rupert Bunny, Ure Smith, Sydney 1948, p. 75
David Thomas, Rupert Bunny 1864-1947, Lansdowne Press, Melbourne, 1970, cat. O208
David Thomas, The Life and Art of Rupert Bunny: A Catalogue Raisonné, Thames and Hudson, Melbourne, 2017, O501

Exhibited in late 1947, just a few months after Rupert Bunny's death, The Wrath of Apollo belongs to a group of paintings from the latter part of his career which Bunny called 'mythological decorations.' Filled with vibrancy and brilliance, they are his most individual contributions to art. The exhibition was reviewed by The Age art critic who wrote 'When Bunny died some months ago a chapter in Australia's early art history was closed. He was one of several distinguished artists who contributed to the foundation of a national culture.

A cosmopolitan in outlook and habit, with a cosmopolitan's receptivity to movements in taste, Bunny's versatile ability was admirably qualified to respond to and record the diversity in art movements that arose during his long lifetime.

His fastidious taste in colour and design is reflected in a number of mythological compositions of which At the Well (I) is a conspicuous example. It is in these pictures that the artist reveals his literary-musical sensibilities, and it is to the musician with an unerring sense of harmony no less than to the artist that we owe a debt of gratitude for his elegant unity of colour relationship and intricacies of design.

Bunny's art had limitations, a lack of depth due to his response to the vagaries of the moment. Nevertheless, within these limits his work neared perfection of its kind, and that is all we may demand from any artist.'

We gratefully acknowledge the kind assistance of David Thomas in cataloguing this work.

×

Bunny Rupert

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Various works by Rupert Bunny including
LOT 78
Rupert Bunny
(1864-1947)
The Wrath of Apollo, c.1918

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Rupert Bunny (1864-1947)
The Wrath of Apollo, c.1918
oil on linen
51.0 x 73.0cm (20 1/16 x 28 3/4in).
linen stamped verso with artist supplier Lucien Lefebvre-Foinet, Paris
Footnotes
PROVENANCE
Mrs Montague Grover, Melbourne
K. Grover Esq., Melbourne
Collection of the late Sir Warwick and Lady Fairfax, Sydney

EXHIBITED
Exhibition of Paintings by Rupert Bunny, Georges Gallery, Melbourne, 9 - 19 September 1947, cat. 26 (label attached verso)

LITERATURE
Clive Turnbull and Tristan Buesst, The Art of Rupert Bunny, Ure Smith, Sydney 1948, p. 75
David Thomas, Rupert Bunny 1864-1947, Lansdowne Press, Melbourne, 1970, cat. O208
David Thomas, The Life and Art of Rupert Bunny: A Catalogue Raisonné, Thames and Hudson, Melbourne, 2017, O501

Exhibited in late 1947, just a few months after Rupert Bunny's death, The Wrath of Apollo belongs to a group of paintings from the latter part of his career which Bunny called 'mythological decorations.' Filled with vibrancy and brilliance, they are his most individual contributions to art. The exhibition was reviewed by The Age art critic who wrote 'When Bunny died some months ago a chapter in Australia's early art history was closed. He was one of several distinguished artists who contributed to the foundation of a national culture.

A cosmopolitan in outlook and habit, with a cosmopolitan's receptivity to movements in taste, Bunny's versatile ability was admirably qualified to respond to and record the diversity in art movements that arose during his long lifetime.

His fastidious taste in colour and design is reflected in a number of mythological compositions of which At the Well (I) is a conspicuous example. It is in these pictures that the artist reveals his literary-musical sensibilities, and it is to the musician with an unerring sense of harmony no less than to the artist that we owe a debt of gratitude for his elegant unity of colour relationship and intricacies of design.

Bunny's art had limitations, a lack of depth due to his response to the vagaries of the moment. Nevertheless, within these limits his work neared perfection of its kind, and that is all we may demand from any artist.'

We gratefully acknowledge the kind assistance of David Thomas in cataloguing this work.

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Cardamatis Wolfgangview full entry

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Two works by Cardamatis including
LOT 145
J. Wolfgang Cardamatis
(born 1917)
Young Bride, 1941

AU$ 800 - 1,200
£ 440 - 660
FOLLOW

Bid

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


J. Wolfgang Cardamatis (born 1917)
Young Bride, 1941
signed and dated lower left: 'J W Cardamatis 1941'
gouache on card on board
44.0 x 54.0cm (17 5/16 x 21 1/4in).
Footnotes
PROVENANCE
David Jones Gallery, Sydney
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired from the above in 1941

EXHIBITED
Contemporary Art Society, Third Annual Exhibition, David Jones Gallery, Sydney, 9 September - 4 October 1941, cat. 33

LITERATURE
Art in Australia, series 4, no. 4, December 1941 - February 1942, p. 61 (illus.)
'Serene House at Bondi Beach', Vogue Australia, June/July 1967, p. 107 (illus. in situ)

AND

J. Wolfgang Cardamatis (born 1917)
The Annunciation, 1945
signed and dated lower left: 'CARDAMATIS 45'
gouache on paper
24.0 x 19.0cm (9 7/16 x 7 1/2in).
Footnotes
PROVENANCE
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired before 1954

×

Cardamatis Wolfgang

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Two works by Cardamatis including
LOT 145
J. Wolfgang Cardamatis
(born 1917)
Young Bride, 1941

AU$ 800 - 1,200
£ 440 - 660
FOLLOW

Bid

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


J. Wolfgang Cardamatis (born 1917)
Young Bride, 1941
signed and dated lower left: 'J W Cardamatis 1941'
gouache on card on board
44.0 x 54.0cm (17 5/16 x 21 1/4in).
Footnotes
PROVENANCE
David Jones Gallery, Sydney
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired from the above in 1941

EXHIBITED
Contemporary Art Society, Third Annual Exhibition, David Jones Gallery, Sydney, 9 September - 4 October 1941, cat. 33

LITERATURE
Art in Australia, series 4, no. 4, December 1941 - February 1942, p. 61 (illus.)
'Serene House at Bondi Beach', Vogue Australia, June/July 1967, p. 107 (illus. in situ)

AND

J. Wolfgang Cardamatis (born 1917)
The Annunciation, 1945
signed and dated lower left: 'CARDAMATIS 45'
gouache on paper
24.0 x 19.0cm (9 7/16 x 7 1/2in).
Footnotes
PROVENANCE
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired before 1954

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Smith Ericview full entry

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Two works by Smith:
LOT 174
Eric Smith
(1919-2017)
The Kiss of Judas, 1952

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Eric Smith (1919-2017)
The Kiss of Judas, 1952
signed and dated lower right: 'ERIC SMITH '52'
artist's label attached verso
oil on composition board
70.0 x 59.0cm (27 9/16 x 23 1/4in).
Footnotes
PROVENANCE
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired before 1954

EXHIBITED
Contemporary Art Society, Fourteenth Annual Interstate Exhibition Sydney, 1 - 17 November 1952, cat. 110
Exhibition of Paintings, Eric Smith, Macquarie Galleries, Sydney, 17 - 30 March 1953, cat. 7
Blake Prize 1953 Mark Foys Gallery, Sydney, 9 - 30 April 1953, cat. 71

LITERATURE
'Contemporary Art Exhibition', The Sydney Morning Herald, 1 November 1952, p. 2
'At Sydney Galleries: Contemporary Art Society', Le Courrier Australien, Sydney, 14 November 1952, p. 5
'Exhibition of works by Eric Smith', The Sydney Morning Herald, Sydney, 17 March 1953, p. 2
'At Sydney Galleries: Six Artists at the Mack Galleries', Le Courrier Australien, Sydney, 27 March 1953, p. 5
'Blake Prize Paintings Have Power', The Sydney Morning Herald, Sydney, 8 April 1953, p. 2
'At Sydney Galleries: Blake Prize, 1953', Le Courrier Australien, Sydney, 17 April 1953, p. 5

AND
lot 175
Eric Smith (1919-2017)
The Raising of Lazarus, 1953
signed and dated lower right: ERIC SMITH / 53
oil on composition board
91.0 x 82.0cm (35 13/16 x 32 5/16in).
Footnotes
inscribed verso then over-painted: 'CONT ART SOCIETY / THE RAISING OF LAZARUS'

PROVENANCE
Macquarie Galleries, Sydney
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired before 1954

EXHIBITED
Exhibition of Paintings, Eric Smith, Macquarie Galleries, Sydney, 17 - 30 March 1953, cat. 8
An Exhibition of Paintings by Eric Smith, John Martins Gallery, Adelaide, 27 September 1954, cat. 6

LITERATURE
'Eric Smith's Exhibition Impressive', The Sun, Sydney, 17 March 1953, p. 11
'Exhibition of Works by Eric Smith', The Sydney Morning Herald, Sydney, 17 March 1953, p. 2
Elizabeth Young, 'Eric Smith Art Show "Sincere"', The Advertiser, Adelaide, 27 September 1954

×

Smith Eric

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Two works by Smith:
LOT 174
Eric Smith
(1919-2017)
The Kiss of Judas, 1952

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


Eric Smith (1919-2017)
The Kiss of Judas, 1952
signed and dated lower right: 'ERIC SMITH '52'
artist's label attached verso
oil on composition board
70.0 x 59.0cm (27 9/16 x 23 1/4in).
Footnotes
PROVENANCE
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired before 1954

EXHIBITED
Contemporary Art Society, Fourteenth Annual Interstate Exhibition Sydney, 1 - 17 November 1952, cat. 110
Exhibition of Paintings, Eric Smith, Macquarie Galleries, Sydney, 17 - 30 March 1953, cat. 7
Blake Prize 1953 Mark Foys Gallery, Sydney, 9 - 30 April 1953, cat. 71

LITERATURE
'Contemporary Art Exhibition', The Sydney Morning Herald, 1 November 1952, p. 2
'At Sydney Galleries: Contemporary Art Society', Le Courrier Australien, Sydney, 14 November 1952, p. 5
'Exhibition of works by Eric Smith', The Sydney Morning Herald, Sydney, 17 March 1953, p. 2
'At Sydney Galleries: Six Artists at the Mack Galleries', Le Courrier Australien, Sydney, 27 March 1953, p. 5
'Blake Prize Paintings Have Power', The Sydney Morning Herald, Sydney, 8 April 1953, p. 2
'At Sydney Galleries: Blake Prize, 1953', Le Courrier Australien, Sydney, 17 April 1953, p. 5

AND
lot 175
Eric Smith (1919-2017)
The Raising of Lazarus, 1953
signed and dated lower right: ERIC SMITH / 53
oil on composition board
91.0 x 82.0cm (35 13/16 x 32 5/16in).
Footnotes
inscribed verso then over-painted: 'CONT ART SOCIETY / THE RAISING OF LAZARUS'

PROVENANCE
Macquarie Galleries, Sydney
Collection of the late Sir Warwick and Lady Fairfax, Sydney, acquired before 1954

EXHIBITED
Exhibition of Paintings, Eric Smith, Macquarie Galleries, Sydney, 17 - 30 March 1953, cat. 8
An Exhibition of Paintings by Eric Smith, John Martins Gallery, Adelaide, 27 September 1954, cat. 6

LITERATURE
'Eric Smith's Exhibition Impressive', The Sun, Sydney, 17 March 1953, p. 11
'Exhibition of Works by Eric Smith', The Sydney Morning Herald, Sydney, 17 March 1953, p. 2
Elizabeth Young, 'Eric Smith Art Show "Sincere"', The Advertiser, Adelaide, 27 September 1954

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Peacock Georgeview full entry

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Two works by Peacock
LOT 198
George Edwards Peacock
(Australian, 1806-1890)
Port Jackson, New South Wales, View in Double Bay, looking towards St George's and Middle Heads, Morning, 1847

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


George Edwards Peacock (Australian, 1806-1890)
Port Jackson, New South Wales, View in Double Bay, looking towards St George's and Middle Heads, Morning, 1847
titled, signed and dated on card verso
oil on card
13.5 x 19.0cm (5 5/16 x 7 1/2in).
Footnotes
PROVENANCE
Christies, Sydney, 3 October 1973, lot 407
Collection of the late Sir Warwick and Lady Fairfax, Sydney

Once a Yorkshire middle class solicitor, transported for forgery who later became a meteorologist, George Edwards Peacock arrived in Sydney aboard the Prince George on 8 May 1837. By 1846, he had received a conditional pardon though keenly felt his social disgrace and sought redemption through his work as an artist. Indeed, his oil paintings of Sydney Harbour from c.1844 - 1857 depict an idyll of leisure and beauty. Finely drawn with an amazing eye for the delicate and considered, whilst the details of Peacock's formal art training are not known, his competence suggest English training. The majority of his works are now held in the collection of State Library of New South Wales and document the harbour foreshores with its elegant villas and stately homes.

At the time, the beaches and inlets accessible from South Head road around the south of the harbour were considered the most picturesque with the northern shore generally held to be wild and dry. Catering in part to his own taste and that of his collectors, Peacock's works are focused almost exclusively on the area along with some which document prominent buildings in town. Painted primarily in oil on card, Peacock's confidence grew into the early 1850s when he commenced signing his work to the face. These examples, both earlier, have detailed notations in ink to cards attached verso.

The works he produced with their fine notations are the main record we have of Peacock's life. After 1856 he disappears from view and neither the date or place of his death are known.

Merryn Schriever
and 199
George Edwards Peacock (Australian, 1806-1890)
Port Jackson, a View from Lady Darling's Point, North West, 1847
signed, dated and titled on card verso
oil on card
14.0 x 19.0cm (5 1/2 x 7 1/2in).
Footnotes
PROVENANCE
Christies, Sydney, 3 October 1973, lot 408
Collection of the late Sir Warwick and Lady Fairfax, Sydney

×

Peacock George

Reference: see Bonham’s auction, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, Sydney, Woollahra.
Two works by Peacock
LOT 198
George Edwards Peacock
(Australian, 1806-1890)
Port Jackson, New South Wales, View in Double Bay, looking towards St George's and Middle Heads, Morning, 1847

Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE
22 Sep 2019, 13:00 EST
Sydney, Woollahra


George Edwards Peacock (Australian, 1806-1890)
Port Jackson, New South Wales, View in Double Bay, looking towards St George's and Middle Heads, Morning, 1847
titled, signed and dated on card verso
oil on card
13.5 x 19.0cm (5 5/16 x 7 1/2in).
Footnotes
PROVENANCE
Christies, Sydney, 3 October 1973, lot 407
Collection of the late Sir Warwick and Lady Fairfax, Sydney

Once a Yorkshire middle class solicitor, transported for forgery who later became a meteorologist, George Edwards Peacock arrived in Sydney aboard the Prince George on 8 May 1837. By 1846, he had received a conditional pardon though keenly felt his social disgrace and sought redemption through his work as an artist. Indeed, his oil paintings of Sydney Harbour from c.1844 - 1857 depict an idyll of leisure and beauty. Finely drawn with an amazing eye for the delicate and considered, whilst the details of Peacock's formal art training are not known, his competence suggest English training. The majority of his works are now held in the collection of State Library of New South Wales and document the harbour foreshores with its elegant villas and stately homes.

At the time, the beaches and inlets accessible from South Head road around the south of the harbour were considered the most picturesque with the northern shore generally held to be wild and dry. Catering in part to his own taste and that of his collectors, Peacock's works are focused almost exclusively on the area along with some which document prominent buildings in town. Painted primarily in oil on card, Peacock's confidence grew into the early 1850s when he commenced signing his work to the face. These examples, both earlier, have detailed notations in ink to cards attached verso.

The works he produced with their fine notations are the main record we have of Peacock's life. After 1856 he disappears from view and neither the date or place of his death are known.

Merryn Schriever
and 199
George Edwards Peacock (Australian, 1806-1890)
Port Jackson, a View from Lady Darling's Point, North West, 1847
signed, dated and titled on card verso
oil on card
14.0 x 19.0cm (5 1/2 x 7 1/2in).
Footnotes
PROVENANCE
Christies, Sydney, 3 October 1973, lot 408
Collection of the late Sir Warwick and Lady Fairfax, Sydney

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Open Air: Portraits In The Landscape view full entry

Reference: Open Air: Portraits In The Landscape, (’This was the exhibition that opened Australia's new National Portrait Gallery. It centred on the theme of 'landscape as portrait'’) [To be indexed]
Publishing details: National Portrait Gallery, Canberra 2008, 72pp, colour illusts, fine paperback with French flaps

×

Open Air: Portraits In The Landscape

Reference: Open Air: Portraits In The Landscape, (’This was the exhibition that opened Australia's new National Portrait Gallery. It centred on the theme of 'landscape as portrait'’) [To be indexed]

Publishing details: National Portrait Gallery, Canberra 2008, 72pp, colour illusts, fine paperback with French flaps

Location: 0

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Landscape as portraitview full entry

Reference: see Open Air: Portraits In The Landscape, (’This was the exhibition that opened Australia's new National Portrait Gallery. It centred on the theme of 'landscape as portrait'’)
Publishing details: National Portrait Gallry, Canberra 2008, 72pp, colour illusts, fine paperback with French flaps

×

Landscape as portrait

Reference: see Open Air: Portraits In The Landscape, (’This was the exhibition that opened Australia's new National Portrait Gallery. It centred on the theme of 'landscape as portrait'’)

Publishing details: National Portrait Gallry, Canberra 2008, 72pp, colour illusts, fine paperback with French flaps

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Done Ken
view full entry

Reference: Ken Done: Paintings You Probably Haven't Seen: Selected Works 2000-2017, by Sarah Engledow. Contents: artist statement, introduction, plates, exhibition history, collections & awards, select bibliography, index.
Publishing details: Ken Done Gallery Sydney 2017, 228pp, colour illust, hardcover in dustjacket,
Ref: 1000

×

Done Ken

Reference: Ken Done: Paintings You Probably Haven't Seen: Selected Works 2000-2017, by Sarah Engledow. Contents: artist statement, introduction, plates, exhibition history, collections & awards, select bibliography, index.

Publishing details: Ken Done Gallery Sydney 2017, 228pp, colour illust, hardcover in dustjacket,

Location: 1000

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Jeffreys Leilaview full entry

Reference: Bird Love - Leila Jeffreys (photographer), by Sarah Engledow (author of introduction) [’Fine art photographer Leila Jeffreys captures the beauty and diversity of some of our most colourful and elegant feathered friends. From the birds of her native Australia to North America, Jeffreys seems to see into the very souls of these model-like creatures with her stunning and evocative portraits.Jeffreys works with animal rescue and conservation groups to find subjects to photograph. Her love and compassion for her subjects is evident throughout, and she captures their personalities in her delightful portraits: Commander Skyring the Gang-Gang Cockatoo, Dexter the White-Bellied Sea Eagle, Mrs. Plume the Budgerigar and friends, are as delightfully whimsical as they are beautiful.’]

Publishing details: Abrams & Chronicle Books Nov 2015,
208 pp.
Ref: 1000

×

Jeffreys Leila

Reference: Bird Love - Leila Jeffreys (photographer), by Sarah Engledow (author of introduction) [’Fine art photographer Leila Jeffreys captures the beauty and diversity of some of our most colourful and elegant feathered friends. From the birds of her native Australia to North America, Jeffreys seems to see into the very souls of these model-like creatures with her stunning and evocative portraits.Jeffreys works with animal rescue and conservation groups to find subjects to photograph. Her love and compassion for her subjects is evident throughout, and she captures their personalities in her delightful portraits: Commander Skyring the Gang-Gang Cockatoo, Dexter the White-Bellied Sea Eagle, Mrs. Plume the Budgerigar and friends, are as delightfully whimsical as they are beautiful.’]

Publishing details: Abrams & Chronicle Books Nov 2015,
208 pp.

Location: 1000

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Fox Belindaview full entry

Reference: Belinda Fox - You need the light to cast a shadow. Exhibition invite with brief essay and 5 colour illustrations.
Publishing details: Arthouse Gallery, 2019, 6pp folding card
Ref: 1000

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Fox Belinda

Reference: Belinda Fox - You need the light to cast a shadow. Exhibition invite with brief essay and 5 colour illustrations.

Publishing details: Arthouse Gallery, 2019, 6pp folding card

Location: 1000

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Australian Ex Libris Society Journalview full entry

Reference: Australian Ex Libris Society Journal no 1, Syd. 1930. 8vo. wrapps. 52pp. Includes 7 tipped-in plates including 3 by Norman Lindsay & 9 ills of bookplates including 5 by Norman Lindsay. Fine. One of 300 numbered copies. Contains an article “The Bookplate Work of Norman Lindsay” by Hugh McCrae.
Publishing details: Australian Ex Libris Society Journal no 1, Syd. 1930. 8vo. wrapps. 52pp.
Ref: 1000

×

Australian Ex Libris Society Journal

Reference: Australian Ex Libris Society Journal no 1, Syd. 1930. 8vo. wrapps. 52pp. Includes 7 tipped-in plates including 3 by Norman Lindsay & 9 ills of bookplates including 5 by Norman Lindsay. Fine. One of 300 numbered copies. Contains an article “The Bookplate Work of Norman Lindsay” by Hugh McCrae.

Publishing details: Australian Ex Libris Society Journal no 1, Syd. 1930. 8vo. wrapps. 52pp.

Location: 1000

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Ex Libris Society, Australianview full entry

Reference: see Australian Ex Libris Society. [All of their journals to be indexed]

×

Ex Libris Society, Australian

Reference: see Australian Ex Libris Society. [All of their journals to be indexed]

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Blackman Charlesview full entry

Reference: Blackman - Original Drawings, Graphics and Monoprints from the Private Collection of Barbara Blackman AO

Gibsons Auction, Level 1, 885-889 High Street, Armadale, Victoria 3143, 6-20th September, 2019

This exhibition comprises original graphics made by Charles Blackman during the thirty years of our marriage. Many of these editions were produced by Well House Press which was set up in the back cottage of our house in Paddington to publish drypoints and etchings, with myself as publisher.

In the following years and all through the eighties this collection of original prints was preserved, layered between separate sheets of tissue paper, in an antique cabinet of print drawers, later transferred to a younger cabinet of drawers in the Melbourne apartment of Felicity St John Moore, an authority on Charles  Blackman and the curator of my art collection and this
exhibition. These prints are now emerging from their sheltered lives to find new homes, mostly for the first time.

The exceptions are the monoprints which came to light more recently, tucked into a sheaf of kept papers being archived by the National Library of Australia. Four monoprints from this series have been purchased for the Prints and Drawings collection of the National Gallery of Victoria.

The Mother Goose suite, drypoints by Charles Blackman, was gifted in 1996 to the Peter McCallum Hospital for the Children’s Cancer Ward. The text of these rhymes was researched and supplied by Vida Horne, long-time children’s librarian at St Kilda Library.
Charles Blackman’s works on paper are represented in the collection of The British Museum in London. They include my 2006 gift of early drawings and a set of six lithographs, The Aspendale Papers 1966-67.

Barbara Patterson Blackman AO
Blackman
Original Drawings, Graphics and Monoprints from the Private Collection of Barbara Blackman AO

Enquiries  
Jennifer Gibson
O413 202 520
jennifer.gibson@gibsonsauctions.com.au
Ref: 1000

×

Blackman Charles

Reference: Blackman - Original Drawings, Graphics and Monoprints from the Private Collection of Barbara Blackman AO

Gibsons Auction, Level 1, 885-889 High Street, Armadale, Victoria 3143, 6-20th September, 2019

This exhibition comprises original graphics made by Charles Blackman during the thirty years of our marriage. Many of these editions were produced by Well House Press which was set up in the back cottage of our house in Paddington to publish drypoints and etchings, with myself as publisher.

In the following years and all through the eighties this collection of original prints was preserved, layered between separate sheets of tissue paper, in an antique cabinet of print drawers, later transferred to a younger cabinet of drawers in the Melbourne apartment of Felicity St John Moore, an authority on Charles  Blackman and the curator of my art collection and this
exhibition. These prints are now emerging from their sheltered lives to find new homes, mostly for the first time.

The exceptions are the monoprints which came to light more recently, tucked into a sheaf of kept papers being archived by the National Library of Australia. Four monoprints from this series have been purchased for the Prints and Drawings collection of the National Gallery of Victoria.

The Mother Goose suite, drypoints by Charles Blackman, was gifted in 1996 to the Peter McCallum Hospital for the Children’s Cancer Ward. The text of these rhymes was researched and supplied by Vida Horne, long-time children’s librarian at St Kilda Library.
Charles Blackman’s works on paper are represented in the collection of The British Museum in London. They include my 2006 gift of early drawings and a set of six lithographs, The Aspendale Papers 1966-67.

Barbara Patterson Blackman AO
Blackman
Original Drawings, Graphics and Monoprints from the Private Collection of Barbara Blackman AO

Enquiries  
Jennifer Gibson
O413 202 520
jennifer.gibson@gibsonsauctions.com.au

Publishing details:

Location: 1000

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Kemp Rogerview full entry

Reference: Roger Kemp - Works from the Estate: 1930s - 1960s, 7 - 28 September, 2019, Charles Nodrum Gallery exhibition.
Roger Kemp's paintings of the late 1930s form a small but coherent body of work – one as forward looking and exploratory as any of his Australian contemporaries.  Yet, with the brief exception of a few shown in the extensive, five-gallery retrospective curated by Patrick McCaughey in 1978 (1) they have remained virtually unknown.  Even for a market-watcher like myself, knowledge was restricted to a few small monochromatic studies which occasionally appeared on the secondary market and, with their energy, idiosyncrasy and high level of abstraction, always instigated the obvious questions of "How come?" and "Where from?"
 
The answers are now clearer. Kemp fell into the classic mould of the introspective (in which he was far from alone: the history of the arts is well supplied). Furthermore, he was quiet (to the point of silent) concerning his early life and our current knowledge derives from Christopher Heathcote's later biographical research.  From this we learn that, unlike the Boyds or the Heide set, who formed small clans that were both supportive and critical, Kemp had few artist friends - and his family remember his taste for long, solitary walks.  Music was, and remained, significant. He came from a Methodist background where hymn singing was regular and in his youth he had sung in a choir; in later years, fellow students at the Gallery School remember him occasionally breaking spontaneously into song as he worked at his easel.(2)  From the outset, many paintings were given titles relating to music, and the connection between the musical and visual arts remained significant throughout his career.
 
In the early 20th century, the combination of music and the visual arts had been revolutionised by the Ballets Russes - costumes, choreography, sets  and music all underwent a sea-change. When they came to Melbourne audience response was strong, and Kemp was transfixed - and it's not hard to see why, given his background in both the relevant art forms. The results were unique. First, an expansively high-keyed palette made the ruling traditionalists look stodgy and the emerging modernists (the Bell-Shore group) look politely restrained; even the Angry Penguins of the early 1940s tended to favour a quieter palette. Next, the forms and marks were infused with an electric energy: in many of the ballet works the brushstrokes seem to mirror the muscles of the dancers straining to stretch and leap and spin. On this score they are truly expressionist paintings in their effort to communicate directly those physical tensions. At the same time they can be seen as harbingers of his later abstraction in their shift of emphasis away from the depiction of the visible bodies to the invisible energy itself.  It is also worth noting other interests that informed the work – colour theory (Steiner and Goethe) and theosophy, both of which played a role in the work of Godfrey Miller, with whom he is sometimes compared.

In the mid 1940s there’s a dramatic change of palette.  In the landscapes, day is followed by night, and from the dark nocturnes there soon emerged a purer abstraction that held sway through the 50s and into the 60s.  Here, circles, cruciforms (and, later, bird-forms) appear and the symbolic aspect comes more to the fore: the circle epitomising balance and perfection; the cruciform, the human body; and the dove, flight and freedom.  Composition board and enamel paints allowed for both a larger scale and for the more rigorous patterning for which he is probably best known. In these he seemed to be moving towards a transcendence of both the order and the chaos of the universe – no less – from the microcosm of the atom (and the particles with all those strange names and even stranger behaviours) to the macrocosm of the galaxies (where the seemingly random scatter of stars is now seen as firmly guided and ordered by predictable physical forces).
 
This was to prove the over-riding direction of the artist’s work - and this exhibition, focussing on his first 30 years, briefly maps the steadily diminishing presence of the visible outside world in his paintings - and the equally determined exploration of forms.  But in this task Kemp never became a pure formalist in the Greenbergian sense. He practised what  some have termed 'transcendental abstraction' (3) and others 'symbolic abstraction' (4). In this world, forms don't have meaning in the sense that words have meaning (and definition) - rather, they suggest, via the relationships between the forms, an order or harmony which, being abstract, can never be physically depicted, only evoked.      
 
Charles Nodrum
 
1. Patrick McCaughey, Roger Kemp – Cycles and Directions 1935-1973, exhibition catalogue,
Monash University, Melbourne, 1975
2. Christopher Heathcote, The Art of Roger Kemp, McMillan, Melbourne, 2007,
p 17; 25 
3. Heathcote, op cit.
4. Bernard Smith, Australian Painting, OUP, all eds., chapter 11, p 373-386, passim

Publishing details: Cgharles Nodrum Gallery, 2019
Ref: 1000

×

Kemp Roger

Reference: Roger Kemp - Works from the Estate: 1930s - 1960s, 7 - 28 September, 2019, Charles Nodrum Gallery exhibition.
Roger Kemp's paintings of the late 1930s form a small but coherent body of work – one as forward looking and exploratory as any of his Australian contemporaries.  Yet, with the brief exception of a few shown in the extensive, five-gallery retrospective curated by Patrick McCaughey in 1978 (1) they have remained virtually unknown.  Even for a market-watcher like myself, knowledge was restricted to a few small monochromatic studies which occasionally appeared on the secondary market and, with their energy, idiosyncrasy and high level of abstraction, always instigated the obvious questions of "How come?" and "Where from?"
 
The answers are now clearer. Kemp fell into the classic mould of the introspective (in which he was far from alone: the history of the arts is well supplied). Furthermore, he was quiet (to the point of silent) concerning his early life and our current knowledge derives from Christopher Heathcote's later biographical research.  From this we learn that, unlike the Boyds or the Heide set, who formed small clans that were both supportive and critical, Kemp had few artist friends - and his family remember his taste for long, solitary walks.  Music was, and remained, significant. He came from a Methodist background where hymn singing was regular and in his youth he had sung in a choir; in later years, fellow students at the Gallery School remember him occasionally breaking spontaneously into song as he worked at his easel.(2)  From the outset, many paintings were given titles relating to music, and the connection between the musical and visual arts remained significant throughout his career.
 
In the early 20th century, the combination of music and the visual arts had been revolutionised by the Ballets Russes - costumes, choreography, sets  and music all underwent a sea-change. When they came to Melbourne audience response was strong, and Kemp was transfixed - and it's not hard to see why, given his background in both the relevant art forms. The results were unique. First, an expansively high-keyed palette made the ruling traditionalists look stodgy and the emerging modernists (the Bell-Shore group) look politely restrained; even the Angry Penguins of the early 1940s tended to favour a quieter palette. Next, the forms and marks were infused with an electric energy: in many of the ballet works the brushstrokes seem to mirror the muscles of the dancers straining to stretch and leap and spin. On this score they are truly expressionist paintings in their effort to communicate directly those physical tensions. At the same time they can be seen as harbingers of his later abstraction in their shift of emphasis away from the depiction of the visible bodies to the invisible energy itself.  It is also worth noting other interests that informed the work – colour theory (Steiner and Goethe) and theosophy, both of which played a role in the work of Godfrey Miller, with whom he is sometimes compared.

In the mid 1940s there’s a dramatic change of palette.  In the landscapes, day is followed by night, and from the dark nocturnes there soon emerged a purer abstraction that held sway through the 50s and into the 60s.  Here, circles, cruciforms (and, later, bird-forms) appear and the symbolic aspect comes more to the fore: the circle epitomising balance and perfection; the cruciform, the human body; and the dove, flight and freedom.  Composition board and enamel paints allowed for both a larger scale and for the more rigorous patterning for which he is probably best known. In these he seemed to be moving towards a transcendence of both the order and the chaos of the universe – no less – from the microcosm of the atom (and the particles with all those strange names and even stranger behaviours) to the macrocosm of the galaxies (where the seemingly random scatter of stars is now seen as firmly guided and ordered by predictable physical forces).
 
This was to prove the over-riding direction of the artist’s work - and this exhibition, focussing on his first 30 years, briefly maps the steadily diminishing presence of the visible outside world in his paintings - and the equally determined exploration of forms.  But in this task Kemp never became a pure formalist in the Greenbergian sense. He practised what  some have termed 'transcendental abstraction' (3) and others 'symbolic abstraction' (4). In this world, forms don't have meaning in the sense that words have meaning (and definition) - rather, they suggest, via the relationships between the forms, an order or harmony which, being abstract, can never be physically depicted, only evoked.      
 
Charles Nodrum
 
1. Patrick McCaughey, Roger Kemp – Cycles and Directions 1935-1973, exhibition catalogue,
Monash University, Melbourne, 1975
2. Christopher Heathcote, The Art of Roger Kemp, McMillan, Melbourne, 2007,
p 17; 25 
3. Heathcote, op cit.
4. Bernard Smith, Australian Painting, OUP, all eds., chapter 11, p 373-386, passim

Publishing details: Cgharles Nodrum Gallery, 2019

Location: 1000

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Kemp Rogerview full entry

Reference: Roger Kemp Visionary Modernist.
[’Roger Kemp: Visionary Modernist is the first major monograph to chart the development of Kemp’s extraordinary career. Driven by a desire to depict themes beyond the physical world, Australian artist Roger Kemp looked to the cosmos, human movement and metaphysical sources for inspiration. In a career spanning more than forty years, he became a key figure of transcendental abstractionist painting.
This publication includes key works, sketches and archival photographs together with essays by David Hurlston, Christopher Heathcote, Helen Hughes and Michel Kemp, offering diverse perspectives on an innovative and complex artist.’]
Publishing details: National Gallery of Victoria, 2019, hc, 144pp
Ref: 1009

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Kemp Roger

Reference: Roger Kemp Visionary Modernist.
[’Roger Kemp: Visionary Modernist is the first major monograph to chart the development of Kemp’s extraordinary career. Driven by a desire to depict themes beyond the physical world, Australian artist Roger Kemp looked to the cosmos, human movement and metaphysical sources for inspiration. In a career spanning more than forty years, he became a key figure of transcendental abstractionist painting.
This publication includes key works, sketches and archival photographs together with essays by David Hurlston, Christopher Heathcote, Helen Hughes and Michel Kemp, offering diverse perspectives on an innovative and complex artist.’]

Publishing details: National Gallery of Victoria, 2019, hc, 144pp

Location: 1009

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Costa Tonyview full entry

Reference: see Look Magazine for article by the artist on art works that influenced him
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Costa Tony

Reference: see Look Magazine for article by the artist on art works that influenced him

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Ohlfsen Doraview full entry

Reference: see Look Magazine for article by Jackie Dun on the artist’s unrealised work.
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.
Ref: 139

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Ohlfsen Dora

Reference: see Look Magazine for article by Jackie Dun on the artist’s unrealised work.

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

Location: 139

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Anderson Sallyview full entry

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Anderson Sally

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Nicole Kellyview full entry

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Nicole Kelly

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Lett Belemview full entry

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Lett Belem

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Owen Waydeview full entry

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Owen Wayde

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Rawkins Karleeview full entry

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Rawkins Karlee

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Whiteley Brett Travelling Scholarship winnersview full entry

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Whiteley Brett Travelling Scholarship winners

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Brett Whiteley Travelling Scholarship winnersview full entry

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Brett Whiteley Travelling Scholarship winners

Reference: see Look Magazine for article on the five past Brett Whiteley Travelling Scholarship winners 2003-2017

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Rae Judeview full entry

Reference: see Look Magazine for article on the artist’s entry in the Archibald Prize
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Rae Jude

Reference: see Look Magazine for article on the artist’s entry in the Archibald Prize

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Flint Prudenceview full entry

Reference: see Look Magazine for article on the artist by Gabriella Coslovich
Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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Flint Prudence

Reference: see Look Magazine for article on the artist by Gabriella Coslovich

Publishing details: Art Gallery Society of NSW, Sept-Oct 2019.

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war artistsview full entry

Reference: see Painting Ghosts - Australian Women Artists in Wartime, by Catherine Speck,
Publishing details: Craftsman House, c2004, 239 p. : col. ill., Includes index.
Bibliography: p. 223-227.

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war artists

Reference: see Painting Ghosts - Australian Women Artists in Wartime, by Catherine Speck,

Publishing details: Craftsman House, c2004, 239 p. : col. ill., Includes index.
Bibliography: p. 223-227.

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Culliton Lucyview full entry

Reference: see Spectrum Magazine, Sydney Morning Herald, August 31, 2019, p8-9 article by Caroline Baum with cover illustration and other illustrations on pges 22-25
Publishing details: Sydney Morning Herald, August 31, 2019, p8-9

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Culliton Lucy

Reference: see Spectrum Magazine, Sydney Morning Herald, August 31, 2019, p8-9 article by Caroline Baum with cover illustration and other illustrations on pges 22-25

Publishing details: Sydney Morning Herald, August 31, 2019, p8-9

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Lydiard Virginiaview full entry

Reference: see Sydney Morning Herald, August 31, 2019, article by Heath Gilmore on ‘Portrait of an artist as an older student’ with information on 4 artists
Publishing details: SMH, August 31, 2019, p18-19

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Lydiard Virginia

Reference: see Sydney Morning Herald, August 31, 2019, article by Heath Gilmore on ‘Portrait of an artist as an older student’ with information on 4 artists

Publishing details: SMH, August 31, 2019, p18-19

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Dix Margaretview full entry

Reference: see Sydney Morning Herald, August 31, 2019, article by Heath Gilmore on ‘Portrait of an artist as an older student’ with information on 4 artists
Publishing details: SMH, August 31, 2019, p18-19

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Dix Margaret

Reference: see Sydney Morning Herald, August 31, 2019, article by Heath Gilmore on ‘Portrait of an artist as an older student’ with information on 4 artists

Publishing details: SMH, August 31, 2019, p18-19

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Watson Justinview full entry

Reference: see Sydney Morning Herald, August 31, 2019, article by Heath Gilmore on ‘Portrait of an artist as an older student’ with information on 4 artists
Publishing details: SMH, August 31, 2019, p18-19

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Watson Justin

Reference: see Sydney Morning Herald, August 31, 2019, article by Heath Gilmore on ‘Portrait of an artist as an older student’ with information on 4 artists

Publishing details: SMH, August 31, 2019, p18-19

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Fitzgerald Sarahview full entry

Reference: see Sydney Morning Herald, August 31, 2019, article by Heath Gilmore on ‘Portrait of an artist as an older student’ with information on 4 artists
Publishing details: SMH, August 31, 2019, p18-19

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Fitzgerald Sarah

Reference: see Sydney Morning Herald, August 31, 2019, article by Heath Gilmore on ‘Portrait of an artist as an older student’ with information on 4 artists

Publishing details: SMH, August 31, 2019, p18-19

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Lindsay Norman by Hugh McCraeview full entry

Reference: see Australian Ex Libris Society Journal no 1, Syd. 1930. 8vo. wrapps. 52pp. Includes 7 tipped-in plates including 3 by Norman Lindsay & 9 ills of bookplates including 5 by Norman Lindsay. Fine. One of 300 numbered copies. Contains an article “The Bookplate Work of Norman Lindsay” by Hugh McCrae.
Publishing details: Australian Ex Libris Society Journal no 1, Syd. 1930. 8vo. wrapps. 52pp.

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Lindsay Norman by Hugh McCrae

Reference: see Australian Ex Libris Society Journal no 1, Syd. 1930. 8vo. wrapps. 52pp. Includes 7 tipped-in plates including 3 by Norman Lindsay & 9 ills of bookplates including 5 by Norman Lindsay. Fine. One of 300 numbered copies. Contains an article “The Bookplate Work of Norman Lindsay” by Hugh McCrae.

Publishing details: Australian Ex Libris Society Journal no 1, Syd. 1930. 8vo. wrapps. 52pp.

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Australian Ex Libris Society Annual Reportview full entry

Reference: AUSTRALIAN EX LIBRIS SOCIETY. ANNUAL REPORT (Period 1930-31). Includes 17 tipped-in bookplates One of 250 numbered copies.
Publishing details: Syd. 1932. 8vo. wrapps. 46pp.
Ref: 1000

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Australian Ex Libris Society Annual Report

Reference: AUSTRALIAN EX LIBRIS SOCIETY. ANNUAL REPORT (Period 1930-31). Includes 17 tipped-in bookplates One of 250 numbered copies.

Publishing details: Syd. 1932. 8vo. wrapps. 46pp.

Location: 1000

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Museum for the People Aview full entry

Reference: A Museum for the People by Carolyn Rasmussen. A History of Museum Victoria and its Predecessors, 1854-2000. Includes input from forty-six specialist contributors. [to be indexed] *
Publishing details: Melb. Scribe. 2001. 4to. Or.bds. Dustjacket. 423pp. Many col & b/w ills.

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Museum for the People A

Reference: A Museum for the People by Carolyn Rasmussen. A History of Museum Victoria and its Predecessors, 1854-2000. Includes input from forty-six specialist contributors. [to be indexed] *

Publishing details: Melb. Scribe. 2001. 4to. Or.bds. Dustjacket. 423pp. Many col & b/w ills.

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Museum Victoria view full entry

Reference: A Museum for the People by Carolyn Rasmussen. A History of Museum Victoria and its Predecessors, 1854-2000. Includes input from forty-six specialist contributors.
Publishing details: Melb. Scribe. 2001. 4to. Or.bds. Dustjacket. 423pp. Many col & b/w ills.

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Museum Victoria

Reference: A Museum for the People by Carolyn Rasmussen. A History of Museum Victoria and its Predecessors, 1854-2000. Includes input from forty-six specialist contributors.

Publishing details: Melb. Scribe. 2001. 4to. Or.bds. Dustjacket. 423pp. Many col & b/w ills.

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Barraband Jacques (1767-1809)view full entry

Reference: Jacques Barraband (1767-1809). Histoire Naturelle des Perroquets.
Publishing details: Paris, 1801-1805.
Ref: 1000

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Barraband Jacques (1767-1809)

Reference: Jacques Barraband (1767-1809). Histoire Naturelle des Perroquets.

Publishing details: Paris, 1801-1805.

Location: 1000

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Waite James Clarke 1832-1921view full entry

Reference: see Menzies auction, September 26, 2019, Lot 29: Melbourne 1888 JAMES CLARKE WAITE (1832-1921), Melbourne 1888, oil on canvas, 103.5 x 153.0 cm, signed lower right: J C Waite signed and inscribed on stretcher verso: "Melbourne/ J. C. Waite RBA, Private collection Christie's, Melbourne, 12 March 1971, lot 156 (as Port Melbourne) Mr & Mrs Julian & Miriam Sterling, Melbourne Private collection, Melbourne Centennial International Exhibition, Royal Exhibition Building, Melbourne, 1 August 1888 - 31 January 1889, no.132 J.C. Waite, R.B.A., Guild Hall, Melbourne, 11 April - 2 May 1908, no.2 (as View of Melbourne (Before the Boom) J.C. Waite, Athenaeum Gallery, Melbourne, 16 - 31 July 1914 Catalogue of Paintings by J C. Waite, R.B.A., Athenaeum Gallery, Melbourne, 16 - 28 February 1920, no.1 (as Yarra, Melbourne) Catalogue of Paintings by J C. Waite, R.B.A., Anthony Hordern & Sons, Sydney, 17 September 1921
see Menzies auction 26.9.19, lot 29: LOT 29
JAMES CLARKE WAITE
Melbourne 1888

oil on canvas
103.5 x 153.0 cm

signed lower right: J C Waite
signed and inscribed on stretcher verso: "Melbourne/ J. C. Waite RBA
Provenance:
Private collection
Christie's, Melbourne, 12 March 1971, lot 156 (as Port Melbourne)
Mr & Mrs Julian & Miriam Sterling, Melbourne
Private collection, Melbourne
Reference:
The Argus, Melbourne, 11 September 1888, p.33
'The Melbourne Exhibition', The Illustrated Sydney News, Sydney, 27 September 1888, p.6
Colquhoun, A., 'Pictures on View. Mr. J.C. Waite Exhibition', The Herald, Melbourne, 16 July 1914, p.10
Colquhoun, A., 'Mr. J.C. Waite's Paintings', The Herald, Melbourne, 16 February 1920, p.10
'Art of J.C. Waite', The Sydney Morning Herald, Sydney, 7 September 1921, p.7
Exhibited:
Centennial International Exhibition, Royal Exhibition Building, Melbourne, 1 August 1888 - 31 January 1889, no.132
J.C. Waite, R.B.A., Guild Hall, Melbourne, 11 April - 2 May 1908, no.2 (as View of Melbourne (Before the Boom)
J.C. Waite, Athenaeum Gallery, Melbourne, 16 - 31 July 1914
Catalogue of Paintings by J C. Waite, R.B.A., Athenaeum Gallery, Melbourne, 16 - 28 February 1920, no.1 (as Yarra, Melbourne)
Catalogue of Paintings by J C. Waite, R.B.A., Anthony Hordern & Sons, Sydney, 17 September 1921

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Waite James Clarke 1832-1921

Reference: see Menzies auction, September 26, 2019, Lot 29: Melbourne 1888 JAMES CLARKE WAITE (1832-1921), Melbourne 1888, oil on canvas, 103.5 x 153.0 cm, signed lower right: J C Waite signed and inscribed on stretcher verso: "Melbourne/ J. C. Waite RBA, Private collection Christie's, Melbourne, 12 March 1971, lot 156 (as Port Melbourne) Mr & Mrs Julian & Miriam Sterling, Melbourne Private collection, Melbourne Centennial International Exhibition, Royal Exhibition Building, Melbourne, 1 August 1888 - 31 January 1889, no.132 J.C. Waite, R.B.A., Guild Hall, Melbourne, 11 April - 2 May 1908, no.2 (as View of Melbourne (Before the Boom) J.C. Waite, Athenaeum Gallery, Melbourne, 16 - 31 July 1914 Catalogue of Paintings by J C. Waite, R.B.A., Athenaeum Gallery, Melbourne, 16 - 28 February 1920, no.1 (as Yarra, Melbourne) Catalogue of Paintings by J C. Waite, R.B.A., Anthony Hordern & Sons, Sydney, 17 September 1921
see Menzies auction 26.9.19, lot 29: LOT 29
JAMES CLARKE WAITE
Melbourne 1888

oil on canvas
103.5 x 153.0 cm

signed lower right: J C Waite
signed and inscribed on stretcher verso: "Melbourne/ J. C. Waite RBA
Provenance:
Private collection
Christie's, Melbourne, 12 March 1971, lot 156 (as Port Melbourne)
Mr & Mrs Julian & Miriam Sterling, Melbourne
Private collection, Melbourne
Reference:
The Argus, Melbourne, 11 September 1888, p.33
'The Melbourne Exhibition', The Illustrated Sydney News, Sydney, 27 September 1888, p.6
Colquhoun, A., 'Pictures on View. Mr. J.C. Waite Exhibition', The Herald, Melbourne, 16 July 1914, p.10
Colquhoun, A., 'Mr. J.C. Waite's Paintings', The Herald, Melbourne, 16 February 1920, p.10
'Art of J.C. Waite', The Sydney Morning Herald, Sydney, 7 September 1921, p.7
Exhibited:
Centennial International Exhibition, Royal Exhibition Building, Melbourne, 1 August 1888 - 31 January 1889, no.132
J.C. Waite, R.B.A., Guild Hall, Melbourne, 11 April - 2 May 1908, no.2 (as View of Melbourne (Before the Boom)
J.C. Waite, Athenaeum Gallery, Melbourne, 16 - 31 July 1914
Catalogue of Paintings by J C. Waite, R.B.A., Athenaeum Gallery, Melbourne, 16 - 28 February 1920, no.1 (as Yarra, Melbourne)
Catalogue of Paintings by J C. Waite, R.B.A., Anthony Hordern & Sons, Sydney, 17 September 1921

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Fish Janetview full entry

Reference: see see Menzies auction, September 26, 2019, Lot 87
JANET FISH
Beer Glasses 1977

pastel on paper
71.5 x 51.0 cm

signed and dated lower right: Janet Fish/ 77
Provenance:
Tolarno Galleries, Melbourne, 1977 (label attached verso)
Private collection, Melbourne
Menzies, Sydney, 16-17 June 2004, lot 240
Private collection, Melbourne
Exhibited:
Janet Fish: Twenty Recent Pastels, Tolarno Galleries, Melbourne, 14 June - 6 July 1977, cat.6

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Fish Janet

Reference: see see Menzies auction, September 26, 2019, Lot 87
JANET FISH
Beer Glasses 1977

pastel on paper
71.5 x 51.0 cm

signed and dated lower right: Janet Fish/ 77
Provenance:
Tolarno Galleries, Melbourne, 1977 (label attached verso)
Private collection, Melbourne
Menzies, Sydney, 16-17 June 2004, lot 240
Private collection, Melbourne
Exhibited:
Janet Fish: Twenty Recent Pastels, Tolarno Galleries, Melbourne, 14 June - 6 July 1977, cat.6

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Gaze Harold (1884 - 1963view full entry

Reference: from Douglas Stewart Fine books, September 2019:
The Mite Merry Series [Complete] : The SImple Jaggajay; The Chewg-um-blewg-um; The Billabonga Bird.
[’A fine complete set of Harold Gaze’s most famous and enchanting works, the complete Mite Merry series.
The Billabonga Bird. Melbourne : Whitcombe & Tombs, 1919. Quarto, illustrated card wrappers, string-bound (now perished), 30pp (mildly foxed), 3 tipped-in plates (2 colour, one monochrome), black and white line drawings.The adventures of an imaginary bird, a bush fairy and their bush-elf friends and other creatures, in rhyming verse. Muir 2698
The Chewg-um-blewg-um. Melbourne : Whitcombe & Tombs, 1919. 4to, illustrated card wrappers (a little edge-wear), string-bound (now perished), 30pp, 3 tipped-in colour plates, black and white line drawings. The adventures of a gum-leaf chewing koala, a gum-nut girl and a billabong bird, in rhyming verse. Muir 2699
The simple Jaggajay.  Melbourne : Whitcombe & Tombs, 1919. Quarto, illustrated card wrappers, ribbon-bound, 30pp (mildly foxed), 3 tipped-in plates (2 colour, one monochrome), black and white line drawings. The adventures of an imaginary bird, a gum-nut girl and their bush creature friends, in rhyming verse. Muir 2700
A very good set of rare and fragile publications. The three elements of the Mite Merry series are Gaze’s most inventive, surreal and creative books, described by historian Juliet O’Conor as ‘Anthropomorphism with an extreme fantasy make over’ (Bottersnikes and other lost things : A celebration of Australian Illustrated Children’s Books, Melbourne 2009, p. 196, illustrated).
Harold Gaze was born in New Zealand and studied at art school in London during the First World War, after which he moved to Melbourne where he wrote and illustrated a number of books for children. He later returned to London and settled in Pasadena, California in 1927 where he resided until his death, working with Disney and continuing to publish. Many of the details of Gaze’s life have proven elusive to researchers but his unique and creative children’s stories and imagery remain delightful and sought after today.
Read’]
Ref: 1000

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Gaze Harold (1884 - 1963

Reference: from Douglas Stewart Fine books, September 2019:
The Mite Merry Series [Complete] : The SImple Jaggajay; The Chewg-um-blewg-um; The Billabonga Bird.
[’A fine complete set of Harold Gaze’s most famous and enchanting works, the complete Mite Merry series.
The Billabonga Bird. Melbourne : Whitcombe & Tombs, 1919. Quarto, illustrated card wrappers, string-bound (now perished), 30pp (mildly foxed), 3 tipped-in plates (2 colour, one monochrome), black and white line drawings.The adventures of an imaginary bird, a bush fairy and their bush-elf friends and other creatures, in rhyming verse. Muir 2698
The Chewg-um-blewg-um. Melbourne : Whitcombe & Tombs, 1919. 4to, illustrated card wrappers (a little edge-wear), string-bound (now perished), 30pp, 3 tipped-in colour plates, black and white line drawings. The adventures of a gum-leaf chewing koala, a gum-nut girl and a billabong bird, in rhyming verse. Muir 2699
The simple Jaggajay.  Melbourne : Whitcombe & Tombs, 1919. Quarto, illustrated card wrappers, ribbon-bound, 30pp (mildly foxed), 3 tipped-in plates (2 colour, one monochrome), black and white line drawings. The adventures of an imaginary bird, a gum-nut girl and their bush creature friends, in rhyming verse. Muir 2700
A very good set of rare and fragile publications. The three elements of the Mite Merry series are Gaze’s most inventive, surreal and creative books, described by historian Juliet O’Conor as ‘Anthropomorphism with an extreme fantasy make over’ (Bottersnikes and other lost things : A celebration of Australian Illustrated Children’s Books, Melbourne 2009, p. 196, illustrated).
Harold Gaze was born in New Zealand and studied at art school in London during the First World War, after which he moved to Melbourne where he wrote and illustrated a number of books for children. He later returned to London and settled in Pasadena, California in 1927 where he resided until his death, working with Disney and continuing to publish. Many of the details of Gaze’s life have proven elusive to researchers but his unique and creative children’s stories and imagery remain delightful and sought after today.
Read’]

Publishing details:

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Browning Liliview full entry

Reference: see Douglas Stewart Fine books, September 2019: Portfolio of original watercolour and graphite designs made by a student at Swinburne Technical College (Senior School for Girls), Melbourne, 1916-18. ‘Unique hand-made artist’s portfolio, 410 x 310 mm, embroidered linen over boards, inner front board with stitched-on printed label advertising the Swinburne Senior Technical School for Girls’ Bazaar (16 September 1916), containing [54] loose sheets of artist’s paper (uniform 380 x 280 mm format) with student excercises in design and geometry, approximately one-third being in watercolour, the remainder in graphite, most sheets with work recto and verso; the designs – a number of which are competent expressions of a distinctively Australian art nouveau style (think Mucha with gumnuts) – are invariably signed ‘L. Browning’ (variously of Form ‘A’, ‘B’ or ‘C’), the last signed in full ‘Lily Browning’; most bear a date with day, month and year (either 1917 or 1918); occasional mild foxing, but essentially very well preserved throughout.
A precious archive documenting the work of a young female design student who was part of the first cohort to pass through Australia’s first technical school for girls. Established in 1916 by Melbourne’s Swinburne Technical College, the Girl’s Senior Technical School was originally located in a house on the corner of Burwood Road and John Street, Hawthorn.
‘

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Browning Lili

Reference: see Douglas Stewart Fine books, September 2019: Portfolio of original watercolour and graphite designs made by a student at Swinburne Technical College (Senior School for Girls), Melbourne, 1916-18. ‘Unique hand-made artist’s portfolio, 410 x 310 mm, embroidered linen over boards, inner front board with stitched-on printed label advertising the Swinburne Senior Technical School for Girls’ Bazaar (16 September 1916), containing [54] loose sheets of artist’s paper (uniform 380 x 280 mm format) with student excercises in design and geometry, approximately one-third being in watercolour, the remainder in graphite, most sheets with work recto and verso; the designs – a number of which are competent expressions of a distinctively Australian art nouveau style (think Mucha with gumnuts) – are invariably signed ‘L. Browning’ (variously of Form ‘A’, ‘B’ or ‘C’), the last signed in full ‘Lily Browning’; most bear a date with day, month and year (either 1917 or 1918); occasional mild foxing, but essentially very well preserved throughout.
A precious archive documenting the work of a young female design student who was part of the first cohort to pass through Australia’s first technical school for girls. Established in 1916 by Melbourne’s Swinburne Technical College, the Girl’s Senior Technical School was originally located in a house on the corner of Burwood Road and John Street, Hawthorn.
‘

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Lindsay Normanview full entry

Reference: McCRAE, Hugh (1876-1958); LINDSAY, Norman (1879-1969)
Idyllia.
From Douglas Stewart Fine books, September 2019:
‘There is no mystery as to why Hugh McCrae would have chosen his poem Colombine to inscribe in his own copy of his second collaboration with Norman Lindsay. Bloomfield described Colombine as ‘a small lyrical masterpiece’ and it is widely regarded as the finest of McCrae’s works. This was the poem which, in a very real sense, had helped rescue the poet from poverty two years earlier and which would take on an almost talismanic significance for him. During a chance encounter in George Street with his friend Norman Lindsay, when McCrae had shown the artist his freshly-penned manuscript of Colombine, the poem had so impressed Lindsay that he promptly arranged for it to be published by Angus & Robertson; furthermore, in a gesture of great generosity toward his impoverished yet supremely gifted friend, Lindsay ensured that McCrae received the net profit from the sales of a de luxe edition of 20 copies that contained a fine, large Lindsay etching. The success of Colombine, the author’s second volume of poetry, cemented McCrae’s opinion of Lindsay as ‘the most generous man I have met in my life’ (Bloomfield, p. 56).
Published two years after Colombine, and containing five original etchings by Norman Lindsay, ‘Idyllia is a particularly fine example of small press publishing. One of the most dignified editions de luxe ever published in Australia….’ (Bloomfield, p. 59).’
Publishing details: [Sydney] : N.L. Press, [1922]. Large quarto (418 x 355 mm), bound in white calf over white papered boards with Norman Lindsay decoration in gold and red (a few light marks), 35 pp, with Lindsay decorations in black highlighted with gilt, further illustrated with five large original Norman Lindsay etchings with titled tissue guards tipped-in, each signed and numbered by the artist; the original etchings are ‘What the Deer Said’, ‘Robin Hood’, ‘Pantera’, ‘The Yellow Lady’ and ‘The Talking Breasts’. Limited to 133 copies of which 100 were for sale to the public, signed by Hugh McCrae (this copy is number 40); opposite the title page McCrae has inscribed the full text of his most famous poem, Colombine, with his signature at the foot; a superb and unique copy.
Ref: 1000

×

Lindsay Norman

Reference: McCRAE, Hugh (1876-1958); LINDSAY, Norman (1879-1969)
Idyllia.
From Douglas Stewart Fine books, September 2019:
‘There is no mystery as to why Hugh McCrae would have chosen his poem Colombine to inscribe in his own copy of his second collaboration with Norman Lindsay. Bloomfield described Colombine as ‘a small lyrical masterpiece’ and it is widely regarded as the finest of McCrae’s works. This was the poem which, in a very real sense, had helped rescue the poet from poverty two years earlier and which would take on an almost talismanic significance for him. During a chance encounter in George Street with his friend Norman Lindsay, when McCrae had shown the artist his freshly-penned manuscript of Colombine, the poem had so impressed Lindsay that he promptly arranged for it to be published by Angus & Robertson; furthermore, in a gesture of great generosity toward his impoverished yet supremely gifted friend, Lindsay ensured that McCrae received the net profit from the sales of a de luxe edition of 20 copies that contained a fine, large Lindsay etching. The success of Colombine, the author’s second volume of poetry, cemented McCrae’s opinion of Lindsay as ‘the most generous man I have met in my life’ (Bloomfield, p. 56).
Published two years after Colombine, and containing five original etchings by Norman Lindsay, ‘Idyllia is a particularly fine example of small press publishing. One of the most dignified editions de luxe ever published in Australia….’ (Bloomfield, p. 59).’

Publishing details: [Sydney] : N.L. Press, [1922]. Large quarto (418 x 355 mm), bound in white calf over white papered boards with Norman Lindsay decoration in gold and red (a few light marks), 35 pp, with Lindsay decorations in black highlighted with gilt, further illustrated with five large original Norman Lindsay etchings with titled tissue guards tipped-in, each signed and numbered by the artist; the original etchings are ‘What the Deer Said’, ‘Robin Hood’, ‘Pantera’, ‘The Yellow Lady’ and ‘The Talking Breasts’. Limited to 133 copies of which 100 were for sale to the public, signed by Hugh McCrae (this copy is number 40); opposite the title page McCrae has inscribed the full text of his most famous poem, Colombine, with his signature at the foot; a superb and unique copy.

Location: 1000

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McCrae Hugh (1876-1958)view full entry

Reference: see McCRAE, Hugh (1876-1958); LINDSAY, Norman (1879-1969)
Idyllia.
From Douglas Stewart Fine books, September 2019:
‘There is no mystery as to why Hugh McCrae would have chosen his poem Colombine to inscribe in his own copy of his second collaboration with Norman Lindsay. Bloomfield described Colombine as ‘a small lyrical masterpiece’ and it is widely regarded as the finest of McCrae’s works. This was the poem which, in a very real sense, had helped rescue the poet from poverty two years earlier and which would take on an almost talismanic significance for him. During a chance encounter in George Street with his friend Norman Lindsay, when McCrae had shown the artist his freshly-penned manuscript of Colombine, the poem had so impressed Lindsay that he promptly arranged for it to be published by Angus & Robertson; furthermore, in a gesture of great generosity toward his impoverished yet supremely gifted friend, Lindsay ensured that McCrae received the net profit from the sales of a de luxe edition of 20 copies that contained a fine, large Lindsay etching. The success of Colombine, the author’s second volume of poetry, cemented McCrae’s opinion of Lindsay as ‘the most generous man I have met in my life’ (Bloomfield, p. 56).
Published two years after Colombine, and containing five original etchings by Norman Lindsay, ‘Idyllia is a particularly fine example of small press publishing. One of the most dignified editions de luxe ever published in Australia….’ (Bloomfield, p. 59).’
Publishing details: [Sydney] : N.L. Press, [1922]. Large quarto (418 x 355 mm), bound in white calf over white papered boards with Norman Lindsay decoration in gold and red (a few light marks), 35 pp, with Lindsay decorations in black highlighted with gilt, further illustrated with five large original Norman Lindsay etchings with titled tissue guards tipped-in, each signed and numbered by the artist; the original etchings are ‘What the Deer Said’, ‘Robin Hood’, ‘Pantera’, ‘The Yellow Lady’ and ‘The Talking Breasts’. Limited to 133 copies of which 100 were for sale to the public, signed by Hugh McCrae (this copy is number 40); opposite the title page McCrae has inscribed the full text of his most famous poem, Colombine, with his signature at the foot; a superb and unique copy.

×

McCrae Hugh (1876-1958)

Reference: see McCRAE, Hugh (1876-1958); LINDSAY, Norman (1879-1969)
Idyllia.
From Douglas Stewart Fine books, September 2019:
‘There is no mystery as to why Hugh McCrae would have chosen his poem Colombine to inscribe in his own copy of his second collaboration with Norman Lindsay. Bloomfield described Colombine as ‘a small lyrical masterpiece’ and it is widely regarded as the finest of McCrae’s works. This was the poem which, in a very real sense, had helped rescue the poet from poverty two years earlier and which would take on an almost talismanic significance for him. During a chance encounter in George Street with his friend Norman Lindsay, when McCrae had shown the artist his freshly-penned manuscript of Colombine, the poem had so impressed Lindsay that he promptly arranged for it to be published by Angus & Robertson; furthermore, in a gesture of great generosity toward his impoverished yet supremely gifted friend, Lindsay ensured that McCrae received the net profit from the sales of a de luxe edition of 20 copies that contained a fine, large Lindsay etching. The success of Colombine, the author’s second volume of poetry, cemented McCrae’s opinion of Lindsay as ‘the most generous man I have met in my life’ (Bloomfield, p. 56).
Published two years after Colombine, and containing five original etchings by Norman Lindsay, ‘Idyllia is a particularly fine example of small press publishing. One of the most dignified editions de luxe ever published in Australia….’ (Bloomfield, p. 59).’

Publishing details: [Sydney] : N.L. Press, [1922]. Large quarto (418 x 355 mm), bound in white calf over white papered boards with Norman Lindsay decoration in gold and red (a few light marks), 35 pp, with Lindsay decorations in black highlighted with gilt, further illustrated with five large original Norman Lindsay etchings with titled tissue guards tipped-in, each signed and numbered by the artist; the original etchings are ‘What the Deer Said’, ‘Robin Hood’, ‘Pantera’, ‘The Yellow Lady’ and ‘The Talking Breasts’. Limited to 133 copies of which 100 were for sale to the public, signed by Hugh McCrae (this copy is number 40); opposite the title page McCrae has inscribed the full text of his most famous poem, Colombine, with his signature at the foot; a superb and unique copy.

Location:

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Sturgess Reginald Ward (1892-1932)view full entry

Reference: see Douglas Stewart Fine books, September 2019:‘Clung to his unstable refuge and waited upon fate’. Page 35. [’Illustration inspired by the novel the The Haunters of the silences by Canadian writer Charles G.D. Roberts. Watercolour on paper, 155 x 115 mm (sheet), signed and dated ‘A.W. Sturgess 1913’, artist’s caption in lower margin of sheet; in very good condition; framed (verso with annotations by Sturgess’ daughter, Beth Sinclair).
Melbourne artist R.W. Sturgess studied drawing and painting at the National Gallery school, where he completed his studies in 1912. His style was strongly influenced by the Art Nouveau movement, but initially his creative output was limited to the commercial sphere, in particular painted lampshade decoration. His first solo exhibition, held at the Athenaeum in 1922, was well received and followed by further exhibitions in Victoria and interstate throughout the 1920s.
Two major surveys of Sturgess’ work have been published: R.W. Sturgess : Water-colourist 1892-1932, by Peter Perry and Beth Sinclair (Castlemaine Art Gallery, 1986); and The life and work of R.W. Sturgess by R.H. Croll (Melbourne : The Fine Arts Society, 1938). Croll noted: ‘His untimely death was a loss to us all. His monument to posterity remains in the pictures he produced, which as time goes on will steadily be sought for and increase in interest and value’ (p.11).
According to his daughter and biographer, Beth Sinclair, who annotated the back of the frame, the Ballarat Art Gallery holds a further six of Sturgess’ illustrations for The Haunters of the silences.
Provenance: Estate of the artist’s daughter, Beth Sinclair.’]

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Sturgess Reginald Ward (1892-1932)

Reference: see Douglas Stewart Fine books, September 2019:‘Clung to his unstable refuge and waited upon fate’. Page 35. [’Illustration inspired by the novel the The Haunters of the silences by Canadian writer Charles G.D. Roberts. Watercolour on paper, 155 x 115 mm (sheet), signed and dated ‘A.W. Sturgess 1913’, artist’s caption in lower margin of sheet; in very good condition; framed (verso with annotations by Sturgess’ daughter, Beth Sinclair).
Melbourne artist R.W. Sturgess studied drawing and painting at the National Gallery school, where he completed his studies in 1912. His style was strongly influenced by the Art Nouveau movement, but initially his creative output was limited to the commercial sphere, in particular painted lampshade decoration. His first solo exhibition, held at the Athenaeum in 1922, was well received and followed by further exhibitions in Victoria and interstate throughout the 1920s.
Two major surveys of Sturgess’ work have been published: R.W. Sturgess : Water-colourist 1892-1932, by Peter Perry and Beth Sinclair (Castlemaine Art Gallery, 1986); and The life and work of R.W. Sturgess by R.H. Croll (Melbourne : The Fine Arts Society, 1938). Croll noted: ‘His untimely death was a loss to us all. His monument to posterity remains in the pictures he produced, which as time goes on will steadily be sought for and increase in interest and value’ (p.11).
According to his daughter and biographer, Beth Sinclair, who annotated the back of the frame, the Ballarat Art Gallery holds a further six of Sturgess’ illustrations for The Haunters of the silences.
Provenance: Estate of the artist’s daughter, Beth Sinclair.’]

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photographyview full entry

Reference: see BOSTOCK, Cecil W. CAMERAGRAPHS OF THE YEAR 1924. A Souvenir of the First Exhibition of the Australian Salon of Photography. Quarto, pp. 48 (chiefly photographic plates) + tipped-in frontispiece, original cloth. The Sydney Camera Circle was behind the formation of the annual Australian Photography Salon in 1924 and 1926. Bostock, a leading figure in photography circles, designed the catalogues for both exhibitions, both of which also included lengthy critical reviews by Harold Cazneaux. Only the 1924 and 1926 salons were afforded substantial catalogues. + BOSTOCK, Cecil W. CAMERAGRAPHS 1926. Selections from the Second Exhibition of the Australian Salon of Photography. Quarto, tipped-in frontispiece and 48 pages of photographic plates, original cloth. Sydney, Harringtons, n.d. but 1926. Extremely scarce: one of the rare copies in original cloth , most were issued in wrappers. [Information from Australian Book Auctions catalogue, 23 May, 2016, lot 226.]
Publishing details: Sydney, Harringtons, n.d. but 1924. Edition limited to 1000 copies.

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photography

Reference: see BOSTOCK, Cecil W. CAMERAGRAPHS OF THE YEAR 1924. A Souvenir of the First Exhibition of the Australian Salon of Photography. Quarto, pp. 48 (chiefly photographic plates) + tipped-in frontispiece, original cloth. The Sydney Camera Circle was behind the formation of the annual Australian Photography Salon in 1924 and 1926. Bostock, a leading figure in photography circles, designed the catalogues for both exhibitions, both of which also included lengthy critical reviews by Harold Cazneaux. Only the 1924 and 1926 salons were afforded substantial catalogues. + BOSTOCK, Cecil W. CAMERAGRAPHS 1926. Selections from the Second Exhibition of the Australian Salon of Photography. Quarto, tipped-in frontispiece and 48 pages of photographic plates, original cloth. Sydney, Harringtons, n.d. but 1926. Extremely scarce: one of the rare copies in original cloth , most were issued in wrappers. [Information from Australian Book Auctions catalogue, 23 May, 2016, lot 226.]

Publishing details: Sydney, Harringtons, n.d. but 1924. Edition limited to 1000 copies.

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Tipping Richardview full entry

Reference: Six by six by six - Richard Tipping, Dikko Faust, Esther K. Smith. “Richard Tipping, wordworks ; Dikko Faust, hand typography ; Esther K. Smith, art direction. 6 by 6 inch edition of 6 x 6 x 6 = 216, on all rag museum board” -Colophon. New York publication from the Sydney based concrete poet.


Publishing details: New York City : Purgatory Pie Press, 1999. Small quarto, embossed wrappers in paper slipcase, letterpress poetry, accordian format. Signed by the artists.
Ref: 1000

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Tipping Richard

Reference: Six by six by six - Richard Tipping, Dikko Faust, Esther K. Smith. “Richard Tipping, wordworks ; Dikko Faust, hand typography ; Esther K. Smith, art direction. 6 by 6 inch edition of 6 x 6 x 6 = 216, on all rag museum board” -Colophon. New York publication from the Sydney based concrete poet.

Publishing details: New York City : Purgatory Pie Press, 1999. Small quarto, embossed wrappers in paper slipcase, letterpress poetry, accordian format. Signed by the artists.

Location: 1000

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textilesview full entry

Reference: see Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait
Ryan, Judith and Robyn Healy. Survey of Aboriginal batik design - a technique introduced to the region in the 1970s. Lots of illustrations of innovative designs. Catalogue from the exhibition of Sept. to Oct. 1998 in 5 locations.

Publishing details: Published by National Gallery of Victoria, Victoria, Australia (1998), pb, Black ill. wraps. 132 pp. 11 color plates.

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textiles

Reference: see Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait
Ryan, Judith and Robyn Healy. Survey of Aboriginal batik design - a technique introduced to the region in the 1970s. Lots of illustrations of innovative designs. Catalogue from the exhibition of Sept. to Oct. 1998 in 5 locations.

Publishing details: Published by National Gallery of Victoria, Victoria, Australia (1998), pb, Black ill. wraps. 132 pp. 11 color plates.

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clothview full entry

Reference: see Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait
Ryan, Judith and Robyn Healy. Survey of Aboriginal batik design - a technique introduced to the region in the 1970s. Lots of illustrations of innovative designs. Catalogue from the exhibition of Sept. to Oct. 1998 in 5 locations.

Publishing details: Published by National Gallery of Victoria, Victoria, Australia (1998), pb, Black ill. wraps. 132 pp. 11 color plates.

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cloth

Reference: see Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait
Ryan, Judith and Robyn Healy. Survey of Aboriginal batik design - a technique introduced to the region in the 1970s. Lots of illustrations of innovative designs. Catalogue from the exhibition of Sept. to Oct. 1998 in 5 locations.

Publishing details: Published by National Gallery of Victoria, Victoria, Australia (1998), pb, Black ill. wraps. 132 pp. 11 color plates.

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Rubin Victorview full entry

Reference: Street faces. Drawings by Victor Rubin 1980
Publishing details: [Sydney : the artist, 1980]. Quarto, illustrated wrappers, 50 unnumbered leaves of drawings.
Ref: 1009

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Rubin Victor

Reference: Street faces. Drawings by Victor Rubin 1980

Publishing details: [Sydney : the artist, 1980]. Quarto, illustrated wrappers, 50 unnumbered leaves of drawings.

Location: 1009

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